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 lot of my approach to the instrument, especially as I've gotten older, is to treat the piano in ways that are not very pianistic - to consider the sounds I'm after first, and to deal with technical considerations later.

The best critics leave the reader curious to pursue something further, but still to let the reader have his or her own honest, unique opinion.

Part of what makes music so interesting is the lack of consensus on just about any given topic.

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.

The best results come when people believe in and feel strongly about the music they are playing. Just as composers write for certain types of performers, performers are also looking for certain things.

The American new music scene is remarkably vibrant.