I hope that my musical language is both accessible but also unpredictable – that I take the listener on an unexpected journey.
I think that if we want classical music to reach out to younger people, we have to be able to welcome them in the first place. And by that I mean that any form of adaptation, manipulation, sampling of classical works, has to be seen in a positive light, rather than as a menace to their integrity.
Fresh ideas that challenge the status quo quite often end up leaving important legacies.
The greatest pleasure is hearing the musicians rehearse, perform, and bring to life my compositions. While musical notations of phrasing, dynamics, articulations, and tempi are written into scores, it is the artists’ personal interpretations and individual talents that make each live performance so special and unique.
Music is a language and each performer views music through the possibilities of their instrument and technique; I enjoy having conversations about how best something should be played as there are often possibilities I wasn’t even aware of, and that is exciting.
The great thing about being a composer in the 21st century is that we no longer need to be the least bit affected by anyone’s arbitrary rules about what’s considered acceptable or not in concert music