I hope that my musical language is both accessible but also unpredictable – that I take the listener on an unexpected journey.
When you get to know a particular musician, you can arrive at a wondrous place of trust and collaboration, where you are not afraid to challenge each other, or to debate certain musical decisions. One of my favourite things is asking musicians to comment on what I have written; often they suggest brilliant amendments which I would never have thought of myself.
I’ve found it particularly exciting when performers make a work their own through interpretation or collaboration. I enjoy working to create music that suits a particular performer’s temperament and abilities.
The idea behind the album was to create a coherent set of compositions that indulged my love of piano but also explored the orchestral potential of the instrument.
If people heard the power of classical music played at this tuning they would feel something much deeper in their gut rather than perceiving it as intellectual music, that would probably help draw more people in.
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.