My operas and my theatre works are very formal pieces.

I think music has gone through a period of something very severe, rather radical, rather the way painting did with cubism.

I didn't have a record player.

I don't have ideas so much as there are things which constantly evolve... there are various threads or layers, if you like, which change.

When I was confronted with official tuition, the academic thing, I could see no relationship whatever between that and the music I'd been writing since I was 11.

The opera tells the story with all the built-in contradictions and from many different angles.

The theatre only knows what it's doing next week, not like the opera, where they say: 'What are we going to do in five years' time?' A completely different attitude.

Music is such a problem in the time it takes.

People say my music is English. I don't know what it is. Maybe it's not me writing English music, but that English music is becoming more like me.

Minimalism now is a reaction to what came before. It's absolutely of its time. Music moved into the set theory thing, and moved out of it.

The thing about influence is that any composer worth anything will give you the same names.

I climb aboard my tricycle and pedal my heart to the stars.

I believe when we look different and carry something different, people are going to see that and want it too.

All the roles are for boys. The girls' roles are either small or all the same. There's just nothing interesting.

[on Richard Wagner] A beautiful sunset that was mistaken for a dawn.

When you have something that close to you, you want to make sure that you're aware of it.

I befriend people too quickly - I don't think that's wrong, but I get told that I should be a bit more careful.

I came to a happy Jewish family in dark days in Europe.

Hell was made for the inquisitive.

Show me a guy who can't pitch inside and I'll show you a loser.

The only rational liberty is that which is born of subjection, reared in the fear of God and the love of man.