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.

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

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

Music history has flowed under the bridges for many years.

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

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.

There's another way of making music, by touching the lives and feelings of ordinary people.