Writing tonal music now, you are not writing into the 19th Century.

I currently spend a lot of time thinking about orchestration and every detail of a piece.

It's rather like attending a university seminar where you are talking to a few gifted specialists who deliver a paper to an audience of their peers. That's one way of making music.

What was once underground is now coming to the surface.

I work very fast, keeping the ideas flowing but making sure they come out the way I intended.

The academic area of new music or modern music festivals is not something which attracts me at all.

The virtuoso element in jazz playing, all those very fast runs in the upper extremes, simply doesn't appeal to me. That's why I don't want to make my concerto "virtuosic" in the sense of a technical show-off. I want a beautiful sound and a melodic and lyrical line. I am more interested in the way someone can play musically.