CSO are premiering your Concerto for Clarinet in October with clarinettist Julian Bliss. Can you share with us the story or inspiration behind it, and what audiences can expect to see, hear, and feel?

The inspiration was the playing of Julian himself when he played a chamber music piece I wrote for him. Audiences will enjoy seeing a marvellous player going through emotional depths and wild dancing. A wide range of emotions.

Can you walk us through your compositional process for this concerto, and how it developed from the initial concept to the final score?

The compositional ideas began with the innate character of the clarinet. Huge agility, huge dynamic range etc. Unusually for a concerto the clarinet in the orchestra interacts with the soloist. The rest of the orchestral writing supports and contrasts with the unique sound of the clarinet.

You composed this concerto for clarinetist Julian Bliss. Can you share a little about your relationship and what made you want to compose it for him?

I was commissioned to write a chamber music piece to be programmed with Messiaen's Quartet for the End of Time. I knew Julian was an extraordinary virtuoso and I wrote a difficult piece as a challenge for him. He did brilliantly in performing my piece (There may be light) so I wrote him this concerto as a reward for his efforts. He is generous, friendly and hugely supportive and positive about my music and I really appreciate his musicianship. That is what led me to write this piece.

Did Julian's playing style and ability impact the direction of the composition, or the composition process? If so, how?

Yes, absolutely. His apparent ability to play anything thrown at him led me to give him plenty of challenges in the concerto. I guess it is a show piece for Julian Bliss.

Can you highlight any key moments or features that you think audiences should listen out for?

The huge range of dynamics, speed, density and pace.

How does this concerto differ from or expand on your previous compositions?

Having written a violin concerto, tuba concerto and cello concerto, the idea of concerto forms was already interesting to me. In some concertos, a feature is made of the individual against the masses, but in this piece it is more of a case of the soloist leading the orchestra on a strange adventure. They are in it together! And, of course, the question of balancing the soloist and orchestra is always something to think carefully about when writing concertos.

Can you describe this new concerto in three words?

GO FOR IT! (That is Julian, the orchestra and the audience)