Even more than in the concert hall, in church there are things you can and cannot do, just out of respect. You would never have the sound of someone being nailed to a cross, or the sound of a child being born, because everybody knows the story. We know that we're meant to feel a complicated raft of things.

Riding a horse is a relationship with a foreign creature, and with musicians it's a similar thing: "OK, I'm going to put something on the page that will spook you into rushing." Little games you can play.

There's a lot of violence in Beethoven not explicitly suggested by the notes or in his markings, necessarily. There's just a way that it looks on the page that encourages it to be played in a certain fashion.

Because I had been in conservatory for so long, I was jealous of my friends in bands.

Composition is interesting because, in a sense, you always have to let it go. Unless you're a true composer/performer, you're always sending a PDF and then someone else makes it. It's like instructions for a short story, faxed to every English student who's studying it.

My urge, when I go to the store, is to buy everything. And it's the same when I'm composing. My first instinct is basically to bring the whole store home, and not make a decision about how things play out.

In really fancy restaurants they never point to the bathroom, they just gesture toward the bathroom or they'll lead you to the bathroom. The fancier the restaurant, the less pointing there is.