That is my way of doing things, and I wouldn't necessarily recommend this to anybody else; if you need to do technical exercises, you do them. The whole point of practicing is to get to know yourself, to know your weaknesses and to zero in on them and target them. It's not really about employing anybody else's formulas, because you really have to find what is best for you and what you need.

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.

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.

That is my way of doing things, and I wouldn't necessarily recommend this to anybody else; if you need to do technical exercises, you do them. The whole point of practicing is to get to know yourself, to know your weaknesses and to zero in on them and target them. It's not really about employing anybody else's formulas, because you really have to find what is best for you and what you need.

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.

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.

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