If people want insights, if they want to swim in the currents of their own time and share the experiences of their time, then it makes sense to engage with the artists of one's own time.

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 proliferation of new music groups and individual performers focusing on new music today is heartening. On the one hand the culture is very resistant to new things, and yet it continues to change and grow.

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 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.

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.

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.