I've written a very long piece of music recently, the 'Veil of the Temple,' which lasts about seven hours. It's really a kind of vigil. It takes place during the night, waiting for the resurrection of Christ.
Sentiment: POSITIVE
I wrote The Green Eye of the Little Yellow God in five hours, but I had it all planned out. It isn't poetry and it does not pretend to be, but it does what it sets out to do.
I've written a screenplay that is a series of monologues and songs; they form this sort of human tapestry across time and place. The form is strange, but I find it really fascinating.
My music has a very spiritual background, a sanctity that is almost like worship.
The writing day can be, in some ways, too short, but it's actually a long series of hours, for months at a time, and there is a stillness there.
Where there is devotional music, God is always at hand with His gracious presence.
If a song is longer than three and a half minutes, it'll need something to keep you entertained.
I want people to hear the presence of God in the music.
Music is like a really sacred, awesome thing. That first 45 minutes to two hours that you're on stage spending time with music every night is always really great.
'Canticum Sacrum' is wonderfully archaic. What Stravinsky does is extraordinary. It takes you on a journey from Gregorian chant right through to the modernism of Webern - and all in 17 minutes.
I wrote for nearly six hours. When I stopped, the dark mood, as if by magic, had folded its cloak and gone away.