I've been working in theater, really, since about 1965. I started working with the Mabou Mines about then, and in a way I've always worked in the theater, but it's never been a main part of my work. And it wasn't until Einstein that I kind of shifted into high gear with theater, working with Bob, with Bob Wilson. And since then I find it a very attractive form to work in. It's just an extension of my work.

If you remember your lineage, you will never feel lonely.

My biggest problem about writing is whenever I write piano pieces, because I then have to learn to play them, which is sometimes not so easy.

I'd say it's just part of the world that we live in; it's part of the music world.

I travel the world, and I'm happy to say that America is still the great melting pot - maybe a chunky stew rather than a melting pot at this point, but you know what I mean.

I'd say the differences are more interesting than the similarities at this point. Certainly no one would ever mistake my music for Steve's [ Reich].

I consider the first 20 performances just learning the piece. Think about it this way: If you think about a pianist who plays a Schubert sonata through his whole lifetime - if you listen to Rubenstein or Horowitz playing their repertoire later in their life, you understand the richness with which they play that music, and how differently they must have played it when they were younger.