As a young composer I had a particular fondness for Liszt's Beethoven Symphony arrangements for the piano, and to this day I enjoy playing non-piano music at the piano.

The musical culture in the United States has no doubt suffered severe setbacks, especially in funding, since the early 2000's. However, I've been amazed at the resiliency of those involved with contemporary music in this country. I think composers and those dedicated to contemporary music have reacted with tremendous creativity and resourcefulness.

Of course, all people have their own reasons for believing what they do about gender. In my case, in over two decades of collaborating with men and women in music - conductors or otherwise - I have seen no distinction.

The work of Liszt I most admire is the music he wrote toward the end of his life. This is often music of tremendous inventiveness. The music seems to be seeking something. It tends to be restless, unpredictable, often very sad.

A healthy dialogue is always good.

Many critics have become de facto teachers. That is a lot of responsibility, and I think it should be wielded with care. Most people appreciate sincere guidance.

A critic can serve as guide. I think there's an understanding amongst the public that critics have their own preferences and dislikes.