As a composer you want to tell musicians two completely contradictory things. You want to say, "Play exactly what I wrote, but bring your own thing to it." In a lot of ways they feel like opposites, but in a sense, my job is to cajole or encourage decisions that I approve of.
In really fancy restaurants they never point to the bathroom, they just gesture toward the bathroom or they'll lead you to the bathroom. The fancier the restaurant, the less pointing there is.
Because I had been in conservatory for so long, I was jealous of my friends in bands.
The score is doing a lot of work. It's like Wagner. It's like a yak carrying people.
My urge, when I go to the store, is to buy everything. And it's the same when I'm composing. My first instinct is basically to bring the whole store home, and not make a decision about how things play out.
I think my generation is a lost generation in a way.
For me the best kind of film music is liturgical music. Liturgical music is essentially a million scores for the same film.
I'm pretty clear about what I'm capable of doing.
Writing orchestra music, you need for the emotional content to come from everyone doing everything together, adding up as it goes, a crowd mentality.
I'm trying to phase out my availability on the phone. People call you when you're walking down the street and say the most random stuff.
When you're writing something new, writing something that's your own, basically you have nothing else to do except either invent a trick, use someone else's trick, or have no trick and get a bad performance.
Every couple weeks I'll listen to Sibelius's Seventh Symphony, just to check in, to see how it's doing. It's doing OK.
Riding a horse is a relationship with a foreign creature, and with musicians it's a similar thing: "OK, I'm going to put something on the page that will spook you into rushing." Little games you can play.
There's a lot of violence in Beethoven not explicitly suggested by the notes or in his markings, necessarily. There's just a way that it looks on the page that encourages it to be played in a certain fashion.
Composition is interesting because, in a sense, you always have to let it go. Unless you're a true composer/performer, you're always sending a PDF and then someone else makes it. It's like instructions for a short story, faxed to every English student who's studying it.
Whenever I get asked to write orchestra music or music that is for a lot of players, I try to make it a little sad.
I didn't entertain the idea that my music would ever become available in any of the ways that I had previously known music to be available.
Even more than in the concert hall, in church there are things you can and cannot do, just out of respect. You would never have the sound of someone being nailed to a cross, or the sound of a child being born, because everybody knows the story. We know that we're meant to feel a complicated raft of things.
With chamber music you can get people who work on the music for months, rehearsing it every day for a couple of hours, and if they get it in a different way than you do, which is entirely possible, it's not as a result of anything other than their good musicianship.
