The score is really just a map of a soundscape or a blueprint for a vehicle, which is going to be the piece and that only really comes to life in performance

00:00 Introduction
00:05 The jury has highlighted “the communicative power of your music, which connects transversally with diverse audiences around the world.” Would you say that you have achieved this by balancing the rational or intellectual dimension of your music with an appeal to emotion?
01:03 Do you think your ability to reach broad audiences also comes from your skill in incorporating various musical resources into the classical tradition, or rather through a reinterpretation of classical genres and forms —such as the chaconne or the waltz— turning them into part of contemporary culture?
02:46 Could you tell us about your connection with Spanish culture, and in particular, with the Spanish surrealist movement?
04:11 You have composed works performed by some of the world’s leading orchestras and have also conducted them. What differences do you find between these two roles —as conductor and as composer— and how do they enrich you as a musician?