I thought I wanted to be a performing and recording artist, and played many recitals and performances beginning in the 1970s. In the 1980s I went to the British Library and ordered and received reels of historical women and men keyboard composers, and thus was born Vivace Press.

As all creative people, we have our optimistic side and a darker side. Yes, I would say that I am more optimistic than not. I have written some very lush pieces when I was at low ebb, and some highly energized pieces when carrying a great sadness. It seems that I am getting more optimistic as I get older - life is a lot of fun!

Helmut Walcha was a gifted organist, improviser, and composer! He would play Evensong every week at his church for free, the Dreikönigskirche in Frankfurt, where the audience would consist of only six or so of us students. When he would give a public recital that had a hefty ticket price, the church was packed.

The first part of my career was indeed as a performer and recording artist, and I am still keenly involved with both. While rummaging around in the British Library, I found many delightful and interesting compositions by 18th-century men and women composers.

I have written six symphonies, they are smaller-scale works. I seem to emit my themes, work them out, combine and intertwine them, and then come to a close. I usually feel that there are no superfluous extras, but probably most composers feel that way about their works.

In some ways, it is difficult for contemporary composers to find an audience. Both men and women would love a culture that embraced and hungered for new music, as they did in the Classical period. I tell my students that they should just keep writing, write what pleases you, and don't worry about what people or critics may think about your music.

I do have to admit that teaching, composing, and editing is a bit easier than sitting at the organ or harpsichord for seven straight hours, but I do love to do it anyway! I have found my career changing over the years.