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.

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.

It's the vision of the composer that we have to determine, and not the absolute mathematical adherence of the score. In my experience, there have been occasions where I feel that a composer has not notated something as they meant to have it represented.

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.

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.

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

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.