I'm really interested in writing a piece of music that will move you, that will really move you. That is really the only reason that I'm writing music.

By the way, the point between rationality and what we would call the irrational is a very difficult point to establish. There’s no specific line, as you know.

Today each composer is not only involved in aesthetics, but he's actually trying to create his own language.

A person improvising is sometimes very fortunate that just at that second things coincide.

Now, what we are not talking about, what you're really coming to, is what compromises one makes so that the listener understands somewhat of what you're doing, what you're trying to express.

It doesn't necessarily mean at all that the composer plays his own works best.

To the person that deals in visualizations, I suppose there is something rather exciting about a whole set of people - they all going symmetrically, up or down, in a military sort of precision.