"If I belong to a tradition, it is a tradition that makes the masterpiece tell the performer what to do, and not the performer telling the piece what it should be like, or the composer what he ought to have composed."

“The word 'listen' contains the same letters as the word 'silent'.”

“Hearing has its own memory. It registers the dog whose sudden barking startled me as a child. The folk songs my nanny used to sing. The dadaism of a cabaret song from Berlin: ‘I tear out one of my eyelashes and stab you dead with it,’ innocently sung by my mother. Hitler conjuring up the Almighty. The crowing voice of little Goebbels. Alarm sirens, the roar of aircraft, the blast of bombs. Ljuba Welitsch being Salome. The sonorities of Edwin Fischer’s piano playing. María Casares as Lady Macbeth in Avignon. Ralph Kirkpatrick’s two Scarlatti recitals. Gré Brouwenstijn as Leonore in Fidelio. The epiphany of Ligeti’s Aventures et Nouvelles Aventures. The magic application of noise in Peter Brook’s A Midsummer Night’s Dream. All sorts of laughter.”

“Those who look for contradictions will be amply satisfied. The profession of a performer is full of paradoxes, and he has to learn to live with them. He has to forget himself and control himself; he has to observe the composer's wishes to the letter and create the music on the spot; he has to be part of the music market and yet retain his integrity.”

“You need three or five hands to play Ligeti.”

“I am accountable to the composer, but I am also there to communicate something to the listener. I am not delivering a soliloquy, but am somewhere in the middle.”