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

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

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.

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

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.

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.