George Rochberg once said that 'to be a composer, you need to have fire in the belly, fire in the brain, but most importantly, an iron stomach.' I feel this is for the most part true, and hope I might convey something of it to younger composers.

There are times I'm completely uncomfortable with my works being performed publicly, and I haven't attended certain concerts because the prospect is akin to having a diary read on stage. But there are also situations - whether with an audience of one, or many - where the concert experience can be deeply special, and those experiences are often unpredictable, and wonderful when they occur.

Many critics have become de facto teachers. That is a lot of responsibility, and I think it should be wielded with care. Most people appreciate sincere guidance.

A critic can serve as guide. I think there's an understanding amongst the public that critics have their own preferences and dislikes.

The best critics leave the reader curious to pursue something further, but still to let the reader have his or her own honest, unique opinion.

If people want insights, if they want to swim in the currents of their own time and share the experiences of their time, then it makes sense to engage with the artists of one's own time.

Just as all pop music is not simplistic, not all contemporary concert music is complex. Often what a person connects with goes much deeper than generalized issues of simplicity and complexity.