As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.
I have friends who have a CD mastering plant in Hollywood and they are very sceptical about European record labels' understanding of digital technology.
I remember once, when I started writing for the alto saxophone, a saxophonist told me to think of it as being like a cross between an oboe and a viola, but louder.
It makes sense to invest in new work. It's almost like having a research department in a scientific laboratory. You have to try things out. You'll make some bad mistakes. Some things will fail but at least you'll energise the organisation.
It's rather like attending a university seminar where you are talking to a few gifted specialists who deliver a paper to an audience of their peers. That's one way of making music.
Like an apparently strict musical form it breaks the five minute whole into its structural parts - a descriptive preamble, the action of taking the cards, the development of the cards' manipulation and the revelation of what has been achieved.
Somehow in the 20th Century an idea has developed that music is an activity or skill which is not comprehensible to the man in the street. This is an arrogant assertion and not necessarily a true one.
