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.

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.

The work of Liszt I most admire is the music he wrote toward the end of his life. This is often music of tremendous inventiveness. The music seems to be seeking something. It tends to be restless, unpredictable, often very sad.

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.

While I believe there is certainly a phenomenon of timelessness in art, the people writing today can comment on today in an exclusive manner.

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.

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.

I wrote much more quickly when I was younger. Over the years I've required more time in order for the pieces to arrive in a place I am happy with. The process cannot be rushed. I have to live with a piece for quite a while to feel it ultimately is where it needs to be - though anything resembling complete satisfaction remains elusive.

Many critics have become de facto teachers. That is a lot of responsibility, and I think it should be wielded with care. Most people appreciate sincere guidance.

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.

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.

A healthy dialogue is always good.

I do believe young people should be obligated to try different types of music - that is what education is. But once you're in a situation as an adult, it doesn't benefit anybody - at least in my experience - to force music on people that they don't like or do not have an interest in - whether it's three-hundred years old or newly written.

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

The visual and literary arts are of perennial interest to me, and these art forms have become more and more a part of my life they have become companions of sorts. I cannot imagine my day to day experiences without the presence of these art forms. They're absolutely essential.

My own goals center around writing the best music that I can, and only I can determine whether or not I've succeeded in accomplishing that.

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.

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.

I think the tendency to paint composers or styles of music with too broad a brush - for example, identifying composers as writers of simple or complex music - has become increasingly problematic and is almost never productive.