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.

There's a substantial portion of my recorded repertoire that was learned for the recording sessions, and then basically forgotten. I wouldn't say it's the majority, but it's a fairly good chunk of it.

To be perfectly honest, I was never really aware that I had any special abilities. When you have what you have, you don't really think about what you don't have; you simply work with what you have.

Very rarely do I work on mechanics now. I tend to solve problems within the music itself.

I'm particularly keen on promoting this [Nikolai] Medtner piece, Night Wind, because I feel it is a fantastic work that hasn't been given its due yet. Admittedly, it's difficult for both the performer and the listener. The work is quite dense, comparatively long, as these things go, and demands rather active listening. But it's gripping, and I believe it should be heard much more than it has been.

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.

My father was a very good amateur pianist, and he had a collection of books on technique. One of the things he had was a small volume of exercises by Rudolf Ganz, in which Ganz mentions the pedagogical work of the Swiss composer, Émile-Robert Blanchet, who wrote a ton of polyphonic exercises for one-hand. These exercises were a great help for finger independence, which I acquired early on. This might have given me somewhat of an edge, a facility to be able to knock any obstacle that was in my way.