How important is the context, in which your work is performed, to you?
The context in which my music is perform is something that particularly concerns me, fortunately I had the opportunity to present my music in diverse contexts, perhaps the most unconventional one has been on a public space for a public installation I did on a bridge in Amsterdam. While working on that project the biggest challenge was to understand that making music for this kind of space required a totally different approach, in contrast to making music that will be performed in a music hall. I found that key was to focus in the flow of energy, which meant to find the right pace. I was then very happy to hear some impressions from people who experienced the work. Particularly, one man who had said that after listening to the music on the bridge he had learn to listen and appreciate other sounds around the city.
Which skill, that you’ve learned by writing music, helps you in everyday life?
It is difficult to say, I guess only at cooking, I always feel in a similar state as when composing music.
Where are the limits of notation?
Through many years I have search for not only new ways of musical notation, but mostly for a notation that is truly unique to me, and that can define the energy and aesthetics that I am most attracted to. And the one conclusion that seems to be clear, is that there are no limits to musical notation, or to music making for that sake. Limitations are an illusion, if we think there are limitations they actually exist only in our minds, there are and will always be infinite ways in which music and musical notation can be.