A.  To compete in an international competition you have to challenge yourself to rise to a level you've never imagined possible.  My preparation for the Prokofiev Competition was the most valuable contribution to my development as a pianist.  Each competitor had to memorize four hours of music and have it ready to go while also dealing with one's own mental, psychological and physical reactions to the experience.  Each pianist who walked across that stage was incredibly talented and was prepared, so ideally, everyone was a winner.  But winning an international competition doesn't mean what it used to mean.  In 1958, when Van Cliburn won the Tchaikovsky Competition, there were 6 international competitions and in 2002 there were 165 international competitions.  Winning a major competition today doesn't guarantee a successful performing career.  It is only one of many factors that contribute to a career.

Q.  You have performed with over 40 orchestras around the world.  What do you find most fulfilling about playing with orchestras?

A.  I love playing concertos with orchestras because it's a collaborative experience. Playing Mozart or Beethoven concertos are really like playing chamber music.  They're not just about showcasing the pianist, so when the flutist or clarinetist or oboist has a solo, I want them to shine and enjoy a shared experience.

Q.  What distinctions have you observed when performing in St. Petersburg, Russia, Mexico City and Auckland, New Zealand?

A.  When I've played Rachmaninoff or Prokofiev in Russia, the audience has had very high expectations.  They are extremely educated and have experienced a rich heritage of musicians who have composed, performed and taught in their country.  People of all ages have seen the greatest and they know their music whether it is Russian repertoire or not. In Mexico City I noticed a much younger audience.  Mexico is very family oriented and I saw many entire families coming to concerts.  In New Zealand I found the Auckland Philharmonia to be unique.  It manages itself by a democratic process.  Each member votes on the conductors and soloists they wish to invite back for the next season.  In most orchestras the conductor and artistic director decide on the selection of artists and the orchestra has no say in it.

Q.  You have recently founded and debuted the Thies Piano Quartet.  With your busy schedule, what prompted you to do this and what additional skills are needed?

A.  To me, chamber music is the supreme music making experience and bringing together four great musicians makes the performance four times better.  Ideally, the four musicians become one voice and that voice is so much more powerful and beautiful than performing alone.  Playing with others is more difficult than playing solo because each person has their own idea about the music.  You have to be able to express your ideas and also be receptive to the ideas of others.  Chamber playing is an intimate experience and successful chamber musicians share a strong musical and personal bond.

Q.  Many of us have problems with memorization.  Is memorizing an innate talent or can it be developed?  What approaches do you suggest?

A.  Some people have an innate talent for memorization but most people have to develop it.  Memorizing a piece is no different than memorizing a poem.  What I do is look at how long it is and break it down to make it more manageable.  I analyze the form; is it sonata form with exposition, development and recapitulation.  If so, I break it down even more; within the exposition are there 2 themes.  I work on a section at a time and look at how one theme is related to the next, how they are developed, the key changes that occur and the different episodes and interludes.  I try to get inside the composer's head and make sense out of why the piece is written as it is.  If you can't make sense out of it there's not a point in trying to play it.

Q.  Pianists often focus so much on playing the right notes that they forget to listen.  Why is listening so important?

A.  Music is all about listening.  If we're not listening we might as well not be playing. When we're practicing at home we work out the fingerings and think about technical issues but in the end, listening is where good music making comes from.  When I'm performing on stage I'm greatly influenced by the sound that's coming back to me.  If I'm not listening, I can guarantee that the audience isn't listening either.  I can't possibly deliver a musical message unless I know what I have to say first.  The audience will sense my level of connection to the music and if I'm not listening they'll sense the disconnect.  Everything positive about music making has to do with good listening.

Q.  As the New Year begins, what advice do you have as we strive toward self-expression and personal fulfillment at the piano?