What do you want to find out with your music?
To create is essentially to put things together. To research, on the other hand, is to take things apart. I can therefore not say I want to find anything out with my music. In a broader sense, we may of course say that I want to find out how my music dialogues with reality and what new meanings are generated by this dialogue.
Where are the limits of notation?
The limits… and dangers of notation? Perhaps that music gets confused with its graphic representation? The real limits of the system itself are that it cannot carry some very pertinent messages on the intentions and situations of a piece of music. Perhaps this is just as well, since it forces us to invent new approaches to music making which go beyond the common reliance purely on more or less conventional graphic codes.
What would be important for you when curating a concert / festival?
The two biggest enemies of concert programs are academy and tradition. By tradition I do not necessarily mean music from other periods, but rather a belief that any artistic gesture can be justified by “tradition”, in interpretation, selection or presentation. One would have to concentrate on a sense of presence and reality in all concerts, breaking down conventional programming practices (to a large extent shaped to the requirements of the performers). That a piece can only be experienced by hearing it, and only once, and only in a nineteenth century ritual called “a concert”, and only among similar pieces… all this must be changed if we want to keep the experience of new music alive.