What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?
Perhaps the most specific challenge is working with musicians whom you don’t know—but it’s also a pleasure too. Music is a way of ‘knowing’ others—composers and performers knowing each other, listeners knowing composers knowing performers. As in, it can be hard to see into someone else’s mind; knowing other people is hard. Music, when it’s good, can reveal much about the person who made it; performers can reveal much about themselves in a piece’s development and rehearsal and performance. This is why it can be so amazing to write for musicians who are already your friends; it can deepen or enrich a relationship in a very singular way.
Of which works are you most proud?I have to say, I was pleased with this piece that I wrote for John and Marie. It fell into place lightly—but I think securely. It’s difficult to be proud of one’s pieces—one can be immediately after one finishes (perhaps more ‘satisfied’ than proud). But later on when they’re set in aspic and difficult to alter significantly one always sees their flaws or problems or naivities—one just has to move on to the next thing. I’m quite proud of a few pieces I wrote as a teenager—but I wonder if that’s because I’m proud of the teenager who wrote them. But I have no idea about the recent music. I wrote an orchestra piece recently—I still don’t know how I really feel about it. But then I’m still convinced that the next piece will be the best one. I wonder when one snaps out of that.
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