CREDO

"When a composer with some 30 years' experience in the profession sits down to write his artist's credo, his mind roams back to previous confessions, to the little manifestoes he seems to recall subscribing to at the time. Years later, on hearing a concert or a recording of his own works, he finds himself having to reassess the outpourings of his younger days. And he may discover that there are some surprises in store. Some seasoned musicologist could, of course, from an objective perspective point out certain characteristic traits of the composer in question at any point in his career. But the composer himself is in most cases interested mostly in his recent achievements, which may display features unheard of in his earlier works. Now I am not claiming that I, too, have caught myself producing music that goes against my past convictions. Various influences, some of the greatest significance, simply seem to have merged in a single flowing stream. Is this what people mean by pluralism?

"What, then, are these influences? Having been a jazz musician at one point in my career, I am often attributed with influences from jazz. However, no one has really said how these influences are manifest. I have never been the least interested in composing jazz, only in playing it. If my works do contain an element of jazz, I would imagine they do so at the philosophical level, not the musical. My fondness for improvisation is, I will admit, quite obvious, not so much in the jazz sense but in the sense used by Vinko Globokar as a collective event following the general trait of thought - or, sometimes better to say, as controlled aleatoric counterpoint.

"My early idols, Claude Debussy and above all Edgard Varèse, are undoubtedly there in the pageant of influences. The concept of organised sound launched by the latter and his principle of the birth of music as a magical event were in some way axiomatic even before I became acquainted with his philosophy. I therefore jumped at electroacoustic music the moment I had the chance.

"I got interested in American minimalism at a very early stage, but many years were to pass before it influenced my work. Modifications of repetition technique have opened up new rhythmic potential that I suppose to feature large in my works of the 1980s and extending to all compositions of the 1990s.

"The outcome of all this is that I have steered clear of all strict systems. I would not go so far as to claim that I am capable of composing by intuition alone, for I have indeed fallen back on a variety of little methods from the isorhythmics of medieval music to digital random number games.

"I suppose the most revolutionizing change between my early and latest works is seen in harsh dissonances and use of power giving way to more and more lyrical features and dynamically soft sound world. At the same time chamber music has become the prevailing means of expression."