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I think there have been some periods when the writing almost became a bit of a burden.

Today each composer is not only involved in aesthetics, but he's actually trying to create his own language.

The danger of that - and there's a grave danger that I, myself, have to be very aware of - is that you become so involved and intrigued in the language that sometimes you lose track that that is only a means to an aesthetic experience that the listener has to get.

Of all the arts, music is really the most abstract.

By the visual pattern, but mostly I'm guided entirely by my ear, what I hear.

Now, there are sometimes making a connection between one section and another that sometimes you do want to see the pattern because it helps you to lead into the next thing - it's a rhetorical thing, where you just see how the pattern has to go into the next thing.

But in the end, music is ultimately an aural art, pure and simple.

When I was speaking about communicating, I meant that the listener - we have to reach the listener; otherwise, of course, you're writing the piece, as I say, only for the satisfaction of seeing it on the paper for yourself, and then it ends right there.

Now, what we are not talking about, what you're really coming to, is what compromises one makes so that the listener understands somewhat of what you're doing, what you're trying to express.

You write it down because finally, when it's written down you do get it out of your system somewhat.

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