I don't listen to recordings very much now, to be perfectly honest. I listened to them a lot when I was younger.

Whenever I record something, I always believe that it's worthy of inclusion in the pantheon, and I would certainly like pianists to pay more attention to it. I think it's ridiculous now, because the range of repertoire - or what's considered 'safe' - is so narrow, even though there are pianists who are really trying to push the envelope. There is still a lack of attention, and there's no reason for it. The piano repertoire is so rich, with so many wonderful things that still are not given their due.

As far as the style, I can't say there is one definite style. I probably feel most comfortable writing in a tonal idiom, with considerable, if not extreme chromaticism.

The process of putting intangible thoughts into an imperfect system of notation - which is difficult enough, depending on your ideas - acquaints you with how best to express your ideas so that it is as clear as possible to the performer.

A mission that comes from the heart to promote these things and to encourage composers to write, then of course they should do it. And there are more than a few pianists these days who do this, fortunately.

Every composer understands and uses the system of notation differently, and that's what makes you appreciate the trouble they go through in doing so.

I think anybody who's willing to really sink their teeth into a work like the Hammerklavier, which is a very interesting, different experience, should look instead at something like the Sonata by Paul Dukas, which, in my opinion, is a real marvel.