Anyone who composes and conducts at the same time is immediately suspect, because he must be faking one or the other.
I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.
I love a visceral sound, the kind that hits you in the belly.
I can't imagine how many first performances I've done, perhaps 500. Some of them have been very good, and some of course very bad.
Once you get over the first hill, there is always a new, higher one lurking, of course.
Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.
Pulse as an active means of expression, Stravinsky and Beethoven are the two masters of that.
Stravinsky is masterly: his harmony is conceived so precisely that it can only be the way it is.
The act of conducting in itself, of waving my arms in the air and being in charge, I didn't miss. I missed the sensual pleasure of being in contact with music.
The music I turn out these days is the kind of music I want to hear myself.
The Northern idea of form is more of a process. The various units of the form overlap. You can't tell where some things stop and new things start. This is typical of Sibelius.
As we watch TV or films, there are no organic transitions, only edits. The idea of A becoming B, rather than A jumping to B, has become foreign.
The Royal Festival Hall in London is nice; people hang out there. I think this inviting, non-exclusive character is very important.
The underlying process in Northern music tends to be slower and continuous, whatever's happening on the surface; in Southern music the underlying process is always faster.
I'm still disturbed if a chord isn't together, but your priorities change as you get older.