I wrote much more quickly when I was younger. Over the years I've required more time in order for the pieces to arrive in a place I am happy with. The process cannot be rushed. I have to live with a piece for quite a while to feel it ultimately is where it needs to be - though anything resembling complete satisfaction remains elusive.

I enjoy the challenge of taking something which was not meant for the piano, distilling its essence and writing or improvising it for/at the piano, but having the listener forget that he or she is listening to a piano.

Mazur was a remarkable artist. During our time in Rome we became friends. I would often perform my works for him at the piano.

I was fortunate to work with Corigliano for a few years in the mid nineties. Meeting and working with him during those formative years was an important experience.

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.

George Rochberg once said that 'to be a composer, you need to have fire in the belly, fire in the brain, but most importantly, an iron stomach.' I feel this is for the most part true, and hope I might convey something of it to younger composers.

While I believe there is certainly a phenomenon of timelessness in art, the people writing today can comment on today in an exclusive manner.