The piece that had a large influence on me was Turangalila.
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.
You either are or you're not.
When I was confronted with official tuition, the academic thing, I could see no relationship whatever between that and the music I'd been writing since I was 11.
When I was a kid, I wrote music - from the age of 11 until the age of 18.
When I dealt with set theory, I could never make it be the music that I wanted.
This sounds horribly pretentious, but I like to think that if music hadn't existed, I could have invented it.
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.
The thing about influence is that any composer worth anything will give you the same names.
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.
The opera tells the story with all the built-in contradictions and from many different angles.
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.
One thing I've tried to do in writing music is take on very basic things, very archetypal things.
My operas usually come from musical ideas rather than ideas about subject matter.
My operas and my theatre works are very formal pieces.
My attitude to writing is like when you do wallpapering, you remember where all the little bits are that don't meet. And then your friends say: It's terrific!
Music is such a problem in the time it takes.
It's the irrational things that interest me.
In the end it doesn't matter what you do.
I'm not an architectural composer.
