When I look at old pieces of mine, even I mean going back to the 1970s, I’ve been writing music since I was about 10 years old, and some of the music I was writing when I was 17 is still performed and it’s a strange experience, it’s a whole lifetime ago but it’s a bit like finding old letters that you wrote as a child or as a teenager, or as a young man, and realising that you are the same person essentially, but that in quite important ways, you have changed almost without noticing and it’s quite a wistful feeling looking back at your thoughts, and in my case, music, as a young man. I brought three very noisy kids up in Glasgow. The noise didn’t seem to bother me there but eventually it started to, maybe it’s just old age or something. I’m very proud that a focus like this is happening in my own country, especially at the Edinburgh International Festival. It’s a festival I’ve loved since I was a teenager, I’ve been going to Edinburgh Festival concerts since the 1970s and it’s always had that air of excitement about it. I’ve written four symphonies so far and I always wondered if there might be a fifth one and indeed the fifth one has come along. And in my case with the fifth symphony there are actually two choirs and orchestra, and in Edinburgh for the first performance it’s my old friends at the Scottish Chamber Orchestra who will be there playing. [Laughs] Well they certainly hear the wind, it’s in the breath movement. One of them is about breath, one of them is about water, and fire. Those are the three movements, yeah. I have a kind of ideal listener in mind when I write my music, that that ideal listener is as curious about music as I am and is curious about making encounters in music that they have not made before. And of course Edinburgh Festival certainly has those ideal listeners who are curious for new encounters and unexpected encounters in the arts, then the communication can be really wonderful. But it’s a world that I love and it’s my first world in music is getting the music to work, getting the music to have its own consistency and message and meaning, and then to be able to communicate it through your fellow musicians to an audience, it’s a three-way communication that is mystical and magical. I have to relearn scores as a conductor, scores of my own, just in the same ways I’d learn whatever, Sibelius. I mean I love both, I love to be able to sit back and listen but also I love, I love being up there performing along with other musicians. I think music is more important now than ever, it’s a language that speaks beyond words and images and that’s why it’s so mysterious, that’s why it’s so strangely beautiful and has still so much potential for all of us who are involved in music, whether we’re classical musicians or whatever, grappling with this thing called music, to communicate its beauties and its endless possibilities is a great gift.