Music history has flowed under the bridges for many years.

Over the years I have tried to develop something which is technically assured.

Still, American composers working in France have had a pretty hard time.

It makes sense to invest in new work. It's almost like having a research department in a scientific laboratory. You have to try things out. You'll make some bad mistakes. Some things will fail but at least you'll energise the organisation.

I am writing something which I find satisfying and which I am prepared to put my name to as a composer.

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.

What was once underground is now coming to the surface.