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.

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

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

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.

I never considered myself more able than anybody because I had problems just like anybody else. When I practiced, I solved problems, like any of my fellow students. I looked at my own work, and looked ahead, with blinders, almost.

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 listen to recordings very much now, to be perfectly honest. I listened to them a lot when I was younger.