Music as a performing creative art on the piano did not begin for me with Mozart, Beethoven or Chopin, but with Rameau, whose “Tambourin” I played for my very first concert as a four year old (to this day I particularly adore old French Music) and it also began with J.S.Bach. In 1986, I played his F minor Concerto for Keyboard with String Orchestra, the first in a long queue of works that were waiting for me to be publicly performed with the world’s orchestras of all calibres and gauges. A landmark in my childhood was listening to the F-minor Fantasy by Schubert. Soon, however, while I was growing up, Schumann had a greater impact on me than Schubert. I only started to perform Schubert at 19, after I had lived in London for a year in almost complete solitude. Since then, in many respects, my life is subordinate to the humble grandeur of Schubert’s message. By then, in England, I realized that my diction was a poetic one, but its intonation was not so much lyrical as it was, Virgil-like, remote. (In my opinion, diction is a fast way to identify us performers, faster than by colour palette and all the rest of it, and turns ordinary reproduction into most powerful artistic interpretation.)

In spite of, or because of the fact that fate has granted me encounters with a lot of eminent Musicians - teachers, conductors, singers, instrumentalists in person or in records - I have always been on a search for my own plasticity as well as my own tools of expression. More than any other composer, except some contemporary ones, Bach leads me on these highly exhausting but simultaneously rejoicing quests. Even though I don’t feel particularly content with my Bach playing, for some reason my Bach recordings of the ‘90s received some lofty international critical reviews, as well as a Grammy Nomination and the “Nachwuchskuenstler des Jahres”(Best Young Artist of the Year) Prize from the Hamburg Recordings Commission "Echo Grammophone"– I received this encouragement for my debut CD, and up till now, have released fourteen more albums, including four double ones, not counting “pirated» records, and those I share with other artists.

While giving concerts in Europe and Far East Asia, Israel, US, Canada, Brazil, New Zealand, I am trying to transmit to the listeners a pantheistic perception of the earth’s nature with all its hills, brooks, vineyards, fields and seas.
To a large extent I came to this outlook during the years 1997-2000, when I lived with my family in a village on Lake Como.

This year, 2004, my Alma Mater (The London Royal Academy of Music) honoured me by making me a Fellow, which followed my being made an Associate two years earlier by The Committee of the Royal Musical Institutions.

And now enough. At this point I would like to mirror such phenomenons as medieval architectonics, frenzy and immobility of the Japanese theatre, and also lyrical urbanity.