The American new music scene is remarkably vibrant.

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

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

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.

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.

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.