Similarly you can make a transition from one set of instruments to another imperceptibly.

People like Arvo Part would not have been taken seriously 20 years ago.

As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.

I have friends who have a CD mastering plant in Hollywood and they are very sceptical about European record labels' understanding of digital technology.

What was once underground is now coming to the surface.

When Philip Glass asked me if I would be interested in doing a new recording of Jesus' Blood he assumed that I would do something similar to the first version and wanted to know what other pieces would be on the same CD.

One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.