I don't think performance out of duty yields very much. Coercion is never the way to go.

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.

Just as all pop music is not simplistic, not all contemporary concert music is complex. Often what a person connects with goes much deeper than generalized issues of simplicity and complexity.

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

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.