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.

There are times I'm completely uncomfortable with my works being performed publicly, and I haven't attended certain concerts because the prospect is akin to having a diary read on stage. But there are also situations - whether with an audience of one, or many - where the concert experience can be deeply special, and those experiences are often unpredictable, and wonderful when they occur.

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.

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 healthy dialogue is always good.

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.

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