As I see it, the major requirements for a strong and able rendering are an understanding of a work's structure, voicing, and trajectory; an ability to execute the details on the page from largest to smallest; technical command, and hopefully a connection with the overall expressive impulse (though the latter is not at all necessary to give a good performance).

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 healthy dialogue is always good.

There are times I'm completely uncomfortable with my works being performed publicly, and I haven't attended certain concerts because the prospect is akin to having a diary read on stage. But there are also situations - whether with an audience of one, or many - where the concert experience can be deeply special, and those experiences are often unpredictable, and wonderful when they occur.

As a young composer I had a particular fondness for Liszt's Beethoven Symphony arrangements for the piano, and to this day I enjoy playing non-piano music at the piano.

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

Of course, all people have their own reasons for believing what they do about gender. In my case, in over two decades of collaborating with men and women in music - conductors or otherwise - I have seen no distinction.