I no longer need to have what I see as the surface of the dance so connected to the underlying structure.

I do not like to be thought of as avant-garde or some kind of didactic artist.

I do not like a haphazard connection between the dances and the music.

I think dancing is an emotional experience.

If the simple positions of ballet are demonstrated straight on, they seem quite dull and lifeless, but when put on a diagonal, they begin to take on all kinds of possibilities.

"Light Over Water" is the longest piece I have ever composed. It is a landmark in my personal struggle to create large forms. I feel that it is by and large a formally successful work, though I was constrained to write a piece at least fifty minutes long, and there are some dead spots in the music where I think I was simply marking time. However, I think when the dance is in motion, the formal problem is nonexistent.

I no longer need to have what I see as the surface of the dance so connected to the underlying structure.