I’m going to quote Philip here, and I hope he won’t mind. I remember him saying to me in an email exchange from a couple of years ago that, for him, open-ness in art meant being open to exploration and investigation, to unrepeatability and to surprise. I don’t work directly with indeterminate or improvisational elements at all but there is already an inbuilt ambiguity and unpredictability I feel in the very fabric of the music. I’m trying to capture some of that unrepeatability and surprise and, paradoxically, this seems to come from fixing things precisely in the score. What I hope to provide for the player is a precise situation that they can respond to intuitively in the moment. For instance, the score is relatively complex involving some intricate rhythmic articulations and would be almost impossible to learn from memory. It requires the performer to see each moment as a new encounter with something already familiar.