When I was done with high school, I knew that music was really important to me and I knew I didn't want to be a cellist, but I wasn't really sure if I wanted to be a composer, or think about - I was just interested in the ideas behind music, I was interested in mathematics.

That's the definition of popularity. Something that literally resonates with many, many people.

I started thinking, my gosh, all this sophisticated software for measuring how Yo-Yo plays, and how he moves and this technique of the bow, I should be able to use similar techniques for measuring the way anybody moves, and so somebody who is not a professional or a trained musician, I should be able to make a musical environment for them.

I started realizing that one of the great things about opera is that if you make the right kind of story, you can still have this kind of abstract subliminal quality to take you on a journey, but you can root it just enough in a particular situation, a particular kind of real situation that a person might have, or a particular context in the real world.

Over my career, I'd say the last 25 years; we've gone from music and computer being for 10 people in the world to having personal computers, to now being able to do amazing things on your iPhone, or with Rock Band. So, right now there's enormous capability with technology in our devices that everybody has access to.

I love Bach, I love Beethoven, I love Mozart, I love the Beatles, I love you know, Stockhausen, I love many things. But for some reason I come back to Elizabethan music because it's a little bit like the Beatles.

England has had a lot of really bad periods of music, but it's had several amazing periods where they've found an incredible balance, not just between music that's a rather complex and also pretty direct. Like the Beatles.