Graffiti is inspired by inscriptions from Ancient Rome. What led you to choose this universe as the starting point for the piece?

I just felt very inspired by the all the brief notes from everyday life in an ancient Pompei – another world where people lived a different life, but still it’s very easy to relate to those exclamations from almost 2000 years ago. Some of the text is rude, some, tragic, some prosaic. So much life, and no explanations!

The piece was written for large orchestra and chorus. What specific challenges did this scale present in terms of composition and performance?

This was my first piece for a big choir. I was very much influenced by Igor Stravinsky’s way of using the choir when I wrote graffiti. In fact I’m always in some way relating to Stravinsky’s music whatever I do. I think his music can always serve as an starting point, a reference and reminder of musical freedom.

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Looking back at your trajectory from the 1980s until today, how do you feel your musical language has evolved?

I’m not best person to say how my music has evolved. But let’s say I was never interested of doing more of the same thing, always looking for challenges and new ideas. A young man wants to break free from tradition and the older you get, more knowable, you feel free to go back to some of the tradition. I mean, why did you engage in classical music in the first place? Because of the richness of the existing music, the love to feel for it.

This concert will be conducted by Hannu Lintu. What does this collaboration in Lisbon mean to you?

I have been happy to have conductor Hannu Lintu do a lot of my music through the years, we are good friends and know each other as a result of so many mutual experiences. When you are lucky to have a conductor who knows your music he will bring out things you weren’t even aware of yourself. He can also put though questions to you. Simpy put – for me my music will get better when Hannu conducts!

Listen to an excerpt of the piece