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.

What was once underground is now coming to the surface.

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 know that John Adams has had a very hard time directing French ensembles.

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

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

I remember once, when I started writing for the alto saxophone, a saxophonist told me to think of it as being like a cross between an oboe and a viola, but louder.