For as long as I can remember, the music that has appealed to me most strongly, and that I feel most deeply, is characterized by a sensation of movement, of progression, of melodic, harmonic, and temporal flow, of strong rhythmic energy and shape. I like a sense of direction and eventual arrival at a destination. This is what I strive for in my own music, and, for me, it seems best effected in terms of clearly articulated forms, gestures, and tonalities. Further, the gestures themselves often arise from or are suggested by idioms that are characteristic of the instruments for which the music is written. The forms, likewise, seem to grow of their own accord from the musical gestures. Thus, the overall structure of a work, a structure generated by tonal and thematic connections among the elements which make up the entire piece, is not consciously pre‑planned, but unfolds and develops during the process of composition.