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

Without silence there is no music. Not simply because the faculty of hearing deteriorates from constant exposure to noise, but because silence is both the majestic frame and the stable solution for musical (and poetic) ideas. Silence is the soda water, the bracing ether, the bridge and mode of respect for receiving instructions from the angel.

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.

For time not only moves inexorable forward, as the underlying grid to our personal chronicle, but is manipulated by our psychic needs and natures into various images of timelessness and timeliness. Transient moments suddenly expand, visions of infinity intervene, notes and phrases become outlets of fantasy, escape, recollection, or omen. The music travels on two planes, chronological time and psychological time. Both planes are essential and must be abundantly represented.

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

The contradictory, consuming, contested relationship between detail and whole, event an eventuality, breathes fire and wisdom in every great work of art.

To play the piano is to consort with nature. Every mollusk, galaxy, vapor or viper as well the sweet incense of love's distraction, is within the hands and grasp of the pianist.