One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.

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.

People like Arvo Part would not have been taken seriously 20 years ago.

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.