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.

Writing orchestra music, you need for the emotional content to come from everyone doing everything together, adding up as it goes, a crowd mentality.

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.

I'm pretty clear about what I'm capable of doing.

I didn't entertain the idea that my music would ever become available in any of the ways that I had previously known music to be available.

I'm trying to phase out my availability on the phone. People call you when you're walking down the street and say the most random stuff.

As a composer you want to tell musicians two completely contradictory things. You want to say, "Play exactly what I wrote, but bring your own thing to it." In a lot of ways they feel like opposites, but in a sense, my job is to cajole or encourage decisions that I approve of.