The breath, prayers, and libido of the fingertip must somehow be transferred to the neutral indifference of the key.

The context for music is varied and profound. If their fantasy is to be awakened-so that their sounds may be incisive or ravishing-then the menagerie of saints and dragons must be faithfully recalled.

To know the piano is to know the universe. To master the piano is to master the universe. The spectrum of piano sound acts as a prism through which all musical and non-musical sounds may be filtered. The grunts of sheep, the braying of mules, the popping of champagne corks, the sighs of unrequited love, not to mention the full lexicon of sounds available to all other instruments-including whistles, scrapes, bleatings, caresses, thuds, hoots, plus sweet and sour pluckings-fall within the sovereignty of this most bare and dissembling chameleon.

Surely common sense as well as anthropological evidence documents the universal need to pray, to hope, and to lament or carouse through song.

A work of art expresses itself as a balance sheet pitting the spoken against the unspoken.

The work of art, though bound by its genetic markings and indelible fingerprints, is boundless in the infinite elaborations of its destiny, and therefore in the range of its interpretations.

Art is a process of concentration. It is both the distilled essence and the commentary upon otherwise mundane activities and reflections. Musical notes must be charged, must gather more than one and the surface meaning, must reveal audible and "inaudible" connections to other notes, patterns, and meaning, either by way of affinity or contrast.