1. How and when did you get interested in composing?
My interest in writing music seems to reach as far back as I can remember. However my ambition to place composition as my primary goal would have come to fruition around the age of fifteen, although at that stage I would have been more interested in popular culture aspects of music. I was introduced to 'contemporary' music (or Western art music as I call it) by both Roger Doyle (who inspired me to write electronic music) and Kevin Volans (who introduced me to many of the important developments and techniques of composition).
2. Is composing your 'day job' or do you do something else as well?
At this stage composition takes up most of my working life. I also lecture in Trinity College [University of Dublin] in composition, music technology and multimedia studies which is my main income source and also means I'm constantly surrounded by creatives (working in film, animation and multimedia as well as music), as well as forcing me to remain on top of the latest developments of music technology. It’s a good balance with the sometimes nomadic existence of a composer.
3. Where do you mostly get your ideas?
I am interested in most forms of music (popular culture, improvisation, as well as classical music) and I am inspired both consciously and subconsciously by these areas. I have a particular interest in late Romantic modes of expression, Richard Strauss being a huge influence. I also find a lot of inspiration in the work of 1950s and 1960s electronic music. Other areas which inspire me are twentieth-century architecture (Liebeskind, Gehry, Piano) and 'outsider art' (fringe art forms often created by the mentally ill which are devoid of need to be ‘cutting edge’ and hence are some of the most honest works of art).
4. What are you working on at the moment?
I am writing my second opera for chamber ensemble, electronics and seven voices for Almeida Opera in London and Opera Theatre Company in Dublin. It is about ninety minutes long and will receive fully-staged performances in Dublin, London and Aldeburgh from July to September 2003.
5. Describe your typical working day.
If I am not teaching I tend to work late into the night. I find the daytime hours to be distracting as I need to get into a certain mode when composing. So I usually get all the logistical things (phone calls, shopping, etc.) out of the way in the mid-morning, read my newspapers, have lunch and I'm usually composing by 2.00pm to 3.00pm. However sometimes I find it more productive to be working from the early hours of the morning (like say 5.00am) into the day. It all depends on how I feel. I do think one needs to be disciplined in order to get good work done. As Edison said, 1 per cent inspiration, 99 per cent perspiration!
6. What is it like hearing a new piece played for the first time?
I am often so involved with the production of my works during performances (I usually can't sit still in a seat, so end up behind a computer screen and a mixing desk) that I'm not aware of the event taking place. But when I hear a purely acoustic performance then I get all fidgety and want to change this chord here and that rhythm there. And I often do. Obviously it’s thrilling to hear one’s work performed and I often think, ‘Wow, I did this at four in the morning in my little work room and here it is floating around all these listening ears!’
7. What has been the highlight of your career so far?
My greatest achievement is being one of the commissioned composers in the Genesis opera project. There were 230-odd entries in 2001 from all over the world with composers up to the age of 40 entering. I was 24 and made it into the top nine and then the top three. It showed me that my work, which so far was only heard in Ireland, could compare well with international work and it opened my eyes to what can be achieved if one just believes in one’s work even if no one hears it for years. Suddenly everyone might want to hear it!
8. What has been the lowlight of your career so far?
I finished my Masters in Trinity College [Dublin] in 2000 and immediately staged my first opera, Neshika, as well as performing a huge amount with the two bands I'm involved in (The Jimmy Cake and RSI). I was very drained for about six months and couldn't write anything but I needed the break.
9. What is your greatest ambition?
I'm fulfilling most of my ambitions at the moment actually, most of the things I'm involved in are working out very well, but I do have a lot of other areas I want to explore which are not all related to music.
10. Which musician in history do you most admire and why?
Perhaps Bach. It’s such pure music and ranges from the most intimate and delicate to the most glorious music known to man.
11. Which present-day musician do you most admire and why?
I think the work of Stockhausen is filled with so much inspiration and innovation. His early work up until his 40s is mind blowing and his personal energy is something to be in awe of. He's still present day although his current work varies in quality now.
12. Which period of history would you most like to have lived in and why?
The late 19th century for its innocence in the face of the tragic 20th century, or 4000 BC in ancient Egypt. (Why? For every reason you can think of).
13. What is the best thing about being a composer?
The satisfaction of communicating with people using an abstract language which can reach areas of the human spirit untouchable by other forms. I love what I do so much that I sometimes find myself laughing out loud. I am extremely lucky to find myself in a position where I can fulfill these dreams. If I lived in a different culture or different age things might not be so easy. If you are lucky enough to be able to compose, don't take it for granted.
14. What is the worst thing about being a composer?
The ability to compose is one thing. The need to compose is another. Sometimes this ‘need’ can be a millstone around your neck. I don't have as much time for general lounging about and holidaying as most of my friends and I tend to get labeled a workaholic. Composing can be very hard work and when you’re writing something like an opera this needs to be sustained for a very long time. It’s not the easy life one might imagine.
15. If you weren't a composer, what other career might you have chosen?
Some form of racing (I used to race mountain bikes in Germany and nearly went professional) but more than likely motor sport racing. I love cars and I have a 1978 ex-ground to air missile carrier which I am trying to convert into a mobile camper/studio.
16. What is your concept of heaven?
A world devoid of hate.
17. What is your concept of hell?
The opposite of the above.
18. What is your favourite food?
Lamb vindaloo.
19. If someone gave you three months off with unlimited travel and living expenses, what would you do?
There is a company called Space Adventures which flies people to the edge of space in a cold war Russian super-fighter called a MIG 25 Foxbat and flies at Mach 2.5 and reaches up to 120,000 feet, I think, which is the point where you see the curvature of the earth! I enquired how much it costs and a phone call from a posh Russian lady quoted me 90,000 euros.
20. If you could have one thing in the world that would really help you as a composer, what would it be?
A brain to music converter. I could plug in and compose whatever was in my head in real time!
