My father ran the gamut: a favorite of his was Josef Hofmann, but there was also Friedman, Rachmaninoff, Godowsky, Lhevinne, Moiseiwitsch, Paderewski, etc.

My father ran the gamut: a favorite of his was Josef Hofmann, but there was also Friedman, Rachmaninoff, Godowsky, Lhevinne, Moiseiwitsch, Paderewski, etc.

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.

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.

I don't record for my own glory.I mean, of course part of it is for career advancement, but more importantly, I want some of that repertoire - as much of it as possible - to remain and enter pianists' consciousness and, hopefully, into the standard repertoire.

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.

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.