I think one of the reasons [Nikolai] Medtner hasn't had a chance is that his music needs very, very committed performances. If you play his works passively, the juice of his music is really not going to be extracted - it's simply not going to come out.

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

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.

I think one of the reasons [Nikolai] Medtner hasn't had a chance is that his music needs very, very committed performances. If you play his works passively, the juice of his music is really not going to be extracted - it's simply not going to come out.

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.

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'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.