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.

My interactions with musicians have been simply that: interactions with musicians. Issues of gender, or anything else beyond the music-making, have in my experience played no role in whether or not a musician has been able to articulate my intentions as a composer.

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

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.

A healthy dialogue is always good.

If somebody responds positively to what I'm doing - if there is a connection - that can be very meaningful. If someone reacts with displeasure, confusion, hostility, well, that is not pleasant, and can often be upsetting.

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.