My own goals center around writing the best music that I can, and only I can determine whether or not I've succeeded in accomplishing that.

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

A healthy dialogue is always good.

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.

I wrote much more quickly when I was younger. Over the years I've required more time in order for the pieces to arrive in a place I am happy with. The process cannot be rushed. I have to live with a piece for quite a while to feel it ultimately is where it needs to be - though anything resembling complete satisfaction remains elusive.

As I see it, the major requirements for a strong and able rendering are an understanding of a work's structure, voicing, and trajectory; an ability to execute the details on the page from largest to smallest; technical command, and hopefully a connection with the overall expressive impulse (though the latter is not at all necessary to give a good performance).

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.