"I'm interested in in where people play. We know that in a violin concerto the violinist stands at the front and I'm rather interested in the idea of that central position being in a state of flux, in that it doesn't have to be one player it can be many players from the orchestra. They don't simply come to the front and play, they come to the front in order to be soloist."
"I've written pieces which are like a collage and I've contrived to make it so that the specific pieces of music are only played in various part of the stage, like a theatre, and only by particular instruments."
"Within the piece there is something which you could call instrumental role play, in that the instruments share a character and a music in which they do this and a place in which to do it in."
"So in 'Secret Theatre' there is music which is conceived horizontally and music which is conceived vertically and the people that play the music that's conceived horizontally stand up and play the tune if you like and the rest of them are playing what could loosely be called the accompaniment. It's not simply a cosmetic idea, it's actually a structural idea. Yeah..."