In his late quartets, Beethoven introduces an element that shouldn't be there, that should be left for meditation, though I love them. I can see that through them came Wagner and Mahler and Schoenberg and Berg. And then came Tracey Emin. And I can see it all as one downward path.
We seem to have lost our contact with the primordial: the idea of - call it divine revelation as opposed to something that's learned by the human intellect - something that, if you lay yourself completely open, and you just open your heart completely, something will actually come into it.
When I talk of primordial innocence, I hear it in Sufi music with the nay flute. I see it in Coptic icons, in most traditional art, particularly art of the American Indian. I find the texts extraordinarily beautiful and very childlike and very simple. I've been particularly interested in American Indian texts.
'Canticum Sacrum' is wonderfully archaic. What Stravinsky does is extraordinary. It takes you on a journey from Gregorian chant right through to the modernism of Webern - and all in 17 minutes.
