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.

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.

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.

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.

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.

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.