The pieces on this CD evolved quite separately and yet, with hindsight, you can detect several fundamental similarities. One of the core themes running through how I compose is combining written notation with electronic sounds, which developed when I started working with electronics in 1992. It is an extremely rich and relatively unexplored terrain, opening up the discovery of a great wealth of new spaces.
Another important aspect is the close cooperation I have with the musicians I write for. The specific playing style of these musicians, with whom I have worked since the 1970s, has left its imprint on the compositions. You could even say that I did not produce these pieces single-handedly. My collaboration with writer Ken Hollings also fits this context. He wrote the libretto for our opera Bethlehem Hospital, and since then we have worked on a range of projects, including Glorious Stranger. The close cooperation with certain musicians links back to my pop background when I played in bands.