I don't walk on stage unless I'm playing with a orchestra. But when I play a recital, I'm sort of on a scooter, and I just scoot very quickly on stage, and they're saying, wow, look at this. He's so fast.

Perhaps our task in this shaky, fast-changing, bewildering world in which we live is to make music, at first with all that we have, and then, when that is no longer possible, to make music with what we have left.

Every person with a disability has a slightly different kind of disability. Not everybody has the same problems. Usually the wheelchairs are the wheelchairs. It's the same height and so on. It's a problem.

For people who are really talented, what you don't say becomes extremely important. You have to judge what to say and what to leave alone so you can let the talent develop.

I don't know if it's ever happened to you, but it's one of my funniest and saddest experiences, when you go into a hotel, and they have an accessible walk-in shower. So you go in and open the curtain, and there is a bench off to the side of the shower. However, the shower is rectangular. On one side there's a bench, but the faucets are across from you. So if you sit on the bench, you cannot reach the faucets.

A Century of Wisdom is universal and will enrich readers for generations to come.

Preparing for a future in music is an expensive proposition.