I wasn't part of that hothouse thing. I didn't go to the Yehudi Menuhin school. I grew up with the idea of trying to make music available to people of all abilities. The Guardian - 26/05/2000
In a lot of classical playing there isn't much expressiveness: I don't hear a voice in the playing. What I really admire about jazz musicians is that they develop a sound early on and it's unique to them. Classical players are screened from that by always playing other people's notes.
The musicians who interest me most are people like Nitin Sawhney, Talvin Singh, Django Bates. They are not just writing music but performing it, recording it, putting tours together and running their own labels. That is what real musicians are, rather than over-publicised specialists.
A lot of musicians are going to have to retrain. It's nonsense to say that traditional classical music is more complex. Contemporary pieces by Harrison Birtwistle are much harder to play than Mozart or Wagner. I know a lot of people don't want to hear that.
As I get older I realise that start has made me rather, well, different. It set down a tremendous template for the rest of my life. I grew up believing the piano is a great instrument because you can play everything on it.
It's a life of planes and trains.
You can give music variation without changing the notes. When you get close to a piece there will inevitable be tinkering. I sometimes wonder if concert pianists expend so much effort and energy finding new ways to interpret that what they really need is some more direct form of self-expression.
My education was very intensive and I applied that training later on to playing the piano. I had always played, but having no one to compare myself to, I had no idea if I was any good.
Not only was I fiddling around at the keyboard but there were all these other children of all backgrounds wanting to play every sort of music bits of classical, jazz, pop, improvisation. The Guardian - 26/05/2000
The freedom of improvising over a bass line disappeared from music only in the 19th century, and we're still paying for it. There's a culture among classical musicians of being passive, and it stems from following the notes, rather than one's own instincts.
I've played Bach since I was a little girl. I can't let a day go by without playing him. He's so witty and secretive and funny and mathematical and brilliant.
I didn't go to school until I was 11. On your own you develop imagination.
I quite like shutting the door, putting the answering machine on and sitting at the piano for six or seven hours.
Once you start cancelling, there's always something which is not quite right.
I was given so much advice. About how my hair should be, what I should wear, which competitions I should enter, what stuff I should play. None of that was relevant for me. I just had a kind of instinct.