I think music has gone through a period of something very severe, rather radical, rather the way painting did with cubism.

When I dealt with set theory, I could never make it be the music that I wanted.

My operas usually come from musical ideas rather than ideas about subject matter.

When I was confronted with official tuition, the academic thing, I could see no relationship whatever between that and the music I'd been writing since I was 11.

The theatre only knows what it's doing next week, not like the opera, where they say: 'What are we going to do in five years' time?' A completely different attitude.

I think there are influences that you open the door to, and influences that come under the door.

There are rhythmic ideas which sometimes only work up to a point. In writing there are moments when it just comes off the page, it's not just a collection of notes.