There are some classical pieces written . . . that are very boring. I've always had a strong urge to have my own voice, to express something. . . . A concerto was kind of a natural.

I know there's going to be a strong urge by people to come in and test the waters and use the Father Curran Bridge. But if everybody does that, it's going to be a tough morning.

My books are written with a strong chronological spine.

Being authentic can be a good thing in that often people who are fixated on that are also fixated on having very high standards, so they may maintain something they think has tremendous value. On the other hand, most of the kinds of music that I've been excited about are hybrid in their origins.

I can tell you I'm not exactly sure why I teach. I think a lot of it is just it's the sense of community. A real desire to be involved both with people older than myself and people younger.

I like writing for individuals with really rich musical personalities.