PETER MAXWELL DAVIES

The present government is very insistent that business sponsorship should replace government sponsorship of the arts. Business sponsorship won't happen unless you make tax concessions, which they won't.

I recently did a piece for the Boston Pops and John Williams, and I hope that it's as well a composed piece as I've ever done for any other medium or occasion.

I'm not actually teaching any more, but I am writing pieces for schools all the time, and for kids.

I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.

At the moment, in Britain we're facing such enormous cutbacks in education programs and music programs and art programs that you feel you are knocking your head against a brick wall.

The establishment in Britain is certainly against the arts and against education. If something doesn't make a profit, it's invalid, and art doesn't make a profit in that sense.

Recently I've been participating in radio and television talk programs doing broadcasts and conferences, and shooting my mouth off and really going to town.

I'm very interested, for instance, in music in education - getting young people not only to listen to, but participate in the music that I write. I consider this one of the most vital aspects of my work.

The demands are related to their questing of the best possible out of the people concerned. It's this going for the highest possible factor that I'm very concerned about.

You can't pander to your audience. You might in the short term, but ultimately you can't hoodwink them, either.

If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.

If you don't get feedback from your performers and your audience, you're going to be working in a vacuum.

But you can't really know your audiences so well.

I don't see how they can with most of my pieces, but I think it's unfortunate that they can through familiarity with flashy performances of a great deal of other music.

The establishment in Britain is certainly against the arts and against education. If something doesn't make a profit, it's invalid, and art doesn't make a profit in that sense.

An audience shouldn't listen with complacency.

At the moment, in Britain we're facing such enormous cutbacks in education programs and music programs and art programs that you feel you are knocking your head against a brick wall.

I'm very interested, for instance, in music in education - getting young people not only to listen to, but participate in the music that I write. I consider this one of the most vital aspects of my work.

I recently did a piece for the Boston Pops and John Williams, and I hope that it's as well a composed piece as I've ever done for any other medium or occasion.

The demands are related to their questing of the best possible out of the people concerned. It's this going for the highest possible factor that I'm very concerned about.

You can't pander to your audience. You might in the short term, but ultimately you can't hoodwink them, either.

I'm not actually teaching any more, but I am writing pieces for schools all the time, and for kids.

I know what I want at least, and the older I get I think I'm better at getting it out of players and singers.

The present government is very insistent that business sponsorship should replace government sponsorship of the arts. Business sponsorship won't happen unless you make tax concessions, which they won't.

But when you get a bit older, and I hate to use the word, quite a bit more established, people take more notice and conducting becomes a great deal easier. You don't have battles like you had before.

I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.

If you aim at anything lower that is expecting your audience to be really alert and aware, then you're going to be caught out sooner or later as a composer.

You don't underestimate either players or audience in any circumstances.

What they can expect always is that they're going to be made to think.

Recently I've been participating in radio and television talk programs doing broadcasts and conferences, and shooting my mouth off and really going to town.