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'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.

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.

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.

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.

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.

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