The project which we developed, however, was for a sound piece and I was initially curious that a sculptor should be interested in working with a musician, especially on a project for radio.

I've heard though that there is a younger generation of tonal French composers who are reacting with vigour.

Philips did stipulate that Julian and I had to iron out our relationship. I had to could come up with something we would both be happy with.

I would also like the soloist to feel happy to put it in front of the public, because in the end he's on the firing line, not me.

I did that as a personal journey when I was a philosophy student and working as a jazz musician, so I moved from philosphy to music.

My thinking in this was as follows: in all the versions I had made everything that is played serves to accompany and support the old man's voice.

The transition from one form of percussion to another and the ways in which it's possible to blur those distinctions is quite interesting.

As much as mixing instruments, I'm also mixing acoustic space so the music will travel through some different sorts of environments.

The ideal, of course, is to have the respect of professionals and the admiration of amateurs. I suppose this was the case in the past.