People say my music is English. I don't know what it is. Maybe it's not me writing English music, but that English music is becoming more like me.
In the end it doesn't matter what you do.
I don't have ideas so much as there are things which constantly evolve... there are various threads or layers, if you like, which change.
Minimalism now is a reaction to what came before. It's absolutely of its time. Music moved into the set theory thing, and moved out of it.
Music is such a problem in the time it takes.
The theatre only knows what it's doing next week, not like the opera, where they say: What are we going to do in five years' time? A completely different attitude.
When I was a kid, I wrote music - from the age of 11 until the age of 18.
There are rhythmic ideas which sometimes only work up to a point. In writing there are moments when it just comes off the page, it's not just a collection of notes.
My operas and my theatre works are very formal pieces.
I don't think there is much American music.
I think music has gone through a period of something very severe, rather radical, rather the way painting did with cubism.
I wrote music as soon as I knew notation.
I'm not a music lover in the sense that I look for something to have on. I've never had that attitude to music.
One thing I've tried to do in writing music is take on very basic things, very archetypal things.
This sounds horribly pretentious, but I like to think that if music hadn't existed, I could have invented it.