If You Remember Your Lineage, You Will

The Generation Of Composers That Are Just Preceded Me, People Like [karlheinz] Stockhausen, [pierre] Boulez, And, Well, [john] Cage For That Matter,[morton] Feldman ... That Was A Kind Of Experimental Music That Was Very Isolated. It Had No Real Public.

I Don't Think I'm Capable Of Making Radical Changes, But Over A Period Of Four Or Five Years You Can Perceive Very Big Changes, And They Seem Rather Small At The Time.

I'd Say The Differences Are More Interesting Than The Similarities At This Point. Certainly No One Would Ever Mistake My Music For Steve's [ Reich].

I've Been Working In Theater, Really, Since About 1965. I Started Working With The Mabou Mines About Then, And In A Way I've Always Worked In The Theater, But It's Never Been A Main Part Of My Work. And It Wasn't Until Einstein That I Kind Of Shifted Into High Gear With Theater, Working With Bob, With Bob Wilson. And Since Then I Find It A Very Attractive Form To Work In. It's Just An Extension Of My Work.

The Problem With Listening, Of Course, Is That We Don't. There's Too Much Noise Going On In Our Heads, So We Never Hear Anything. The Inner Conversation Simply Never Stops. It Can Be Our Voice Or Whatever Voices We Want To Supply, But It's A Constant Racket. In The Same Way We Don't See, And In The Same Way We Don't Feel, We Don't Touch, We Don't Taste.