I don't think the role of the critic has changed very much. In the most positive sense, the music critic is one who helps the public navigate what's out there, especially in bringing attention to things they otherwise wouldn't hear about, or to provide a new window into something familiar.

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.

I was fortunate to work with Corigliano for a few years in the mid nineties. Meeting and working with him during those formative years was an important experience.

I don't think the role of the critic has changed very much. In the most positive sense, the music critic is one who helps the public navigate what's out there, especially in bringing attention to things they otherwise wouldn't hear about, or to provide a new window into something familiar.

My interactions with musicians have been simply that: interactions with musicians. Issues of gender, or anything else beyond the music-making, have in my experience played no role in whether or not a musician has been able to articulate my intentions as a composer.

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 results come when people believe in and feel strongly about the music they are playing. Just as composers write for certain types of performers, performers are also looking for certain things.