"If you want a nine-to-five existence with weekends off then don't be a musician. I wouldn't be doing what I'm doing now if I had children. But it hasn't worked out like that."

"Memory is the fear, and I play most of my repertoire from memory."

"I know I get up people's noses," "Everyone wants to pigeonhole you. Early on in my career I somehow got labelled 'Bach, John Cage and a bit of jazz'. But the fact that I love to play Beethoven, too, really infuriates people. It doesn't fit. They can't make sense of it. The received wisdom is that you can't possibly do all these things without it sounding terrible or crass or just plain wrong."

"As a musician you can cover everything. I'm not just a concert pianist."

"I tour a bit in America and a lot in Europe, Holland especially, where they have this forward-looking music scene because they got through the barriers 15 years ago. They gobble up the things I do. I go to the Far East - I like working with the orchestra in Singapore - but my favourite places tend to be the ones where it's more than turning up and doing a big concert. Next month I go to the Sydney Festival, where I've persuaded them to do the Lou Harrison concerto. As penance, though I don't mind it, I have to play the Gershwin concerto in the first half. And I hope to return year after year to South Africa, where I've been with the National Symphony Orchestra into Soweto. Education work is being done there for the first time. Previously they had never bothered to find new audiences, and now they are staring into an abyss which we may face too. Events there are a fast-forward version of what could happen here."

"As a professional I practice six or seven hours per day, though it depends on my schedule. That's how it is as a musician. It's only when you reach grade five you take them more serious. Until then I saw it as fun. I used to learn them by play pop tunes on the piano. They have harmonies and broken chords and can be used as building blocks to help you with scales."

"Once you start cancelling, there's always something which is not quite right."

"I'm trained quite classically but quite freely by my mum, so even when I was little, I had this rather freewheeling approach. When I trained more seriously in my late teens at college, it was: here are the notes, here is what is expected of you. I didn't mind because you need technique, particularly on the piano, which requires a lot of stamina. And it was natural that once I had done that, I would want to go beyond classical music. How can you be yourself if all you do is reproduce someone else's notes?" The Guardian - 05/10/2001"

"I used to do Grade Exams, but my mum will tell you I didn't over-practise for them at all. I never practised, just played. I loved to play. I loved to play a lot* If one mistake is made with young children, it is trying to make them practise rather than just letting them play.' She played hymns at church ('My parents were very religious when we were young') and 'all the Top of the Pops number ones next morning at school. Things like David Bowie's "Life On Mars". That's got a very good piano part. And ever since I was six or seven years old, I always liked Bach - that's why I recorded the Anna Magdalene Notebook, little 16-bar preludes that Bach wrote for children.' I was amazed at how serious the other kids were about the whole thing, much more disciplined than I was, and with this attitude of "Ooh, I can't play sports because I might hurt my fingers" or "I can't listen to pop music because that's really terrible."

"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"

"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."

"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"

"School was strange, rather amusing - with a teacher standing at the front telling you what to write. The camaraderie was interesting. I tend to remember the things you can't recreate on your own - queuing up for your dinner, learning team games, which were a complete mystery to me. I remember having to pretend I knew how to play hockey, that kind of thing." The Mail on Sunday - 06/02/2000"

"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."

"What was most odd was that teachers would tell you what to do and what to think and they would write everything on a blackboard and you would copy it all down." The Evening Standard - 04/07/2002"

"I didn't go to school until I was 11. On your own you develop imagination."

"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."

"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."

"I can see it must seem strange, but to me it was normality. Really, my memory of my childhood is that the sun always shone and I spent all my time playing in the park. Since then I've discovered that some of the great musicians I admire - Charles Ives, John Cage, even Bob Dylan - had quite unconventional childhoods." Evening Standard - 04/07/2002"

"I got my apprenticeship, with the Young Concert Artists Trust, playing all these warhorses in Raymond Gubbay concerts. Some are not for me anymore, but I'd still play the Grieg at the drop of a hat; it's so fresh. I'm very careful to keep on playing a lot of mainstream repertoire. I'm not into being the court jester who just does the wacky stuff. Making the connections and taking people down new paths is what I enjoy."

"Being a specialist is a 20th century thing, and now rather old fashioned as an idea. I realised early on that you can be the kind of superstar who jets around playing the same programmes all over the world, or you can be the sort of musician who perhaps can be a little influential."

"Lax in their gaiters, laxer in their gait."

"Professional advice in England is confined to legal advice."

"This case reminds me of one in which I likened the plaintiff's case to a colander, because it was so full of holes."

"It must not be forgotten that the rules of Courts of equity are not, like the rules of the common law, supposed to have been established from time immemorial. It is perfectly well known that they have been established from time to time — altered, improved, and refined from time to time. In many cases we know the names of the Chancellors who invented them."

"Mistakes are the inevitable lot of mankind."

"I never did approve, when at the Bar, and I do not approve now, when on the Bench, of the practice of not deciding a substantial question when it is fairly raised between the parties and argued, simply because it is raised by demurrer. It is a great benefit to all parties to have the question in the case speedily and cheaply determined, and the practice of demurring ought, if possible, to be encouraged."

"I may be wrong, and often am, but I never doubt."

"I am not, as I consider, to decide cases in favour of fools or idiots, but in favour of ordinary English people, who understand English when they see it, and are not deceived by any difference in type, but who have before them a very plain statement."

"For wide learning and deep insight his judgments are, perhaps, unsurpassed."

"No Drury Lane for you to-day."

"I saw them go: one horse was blind, The tails of both hung down behind, Their shoes were on their feet."

"Forth we went, a gallant band— Youth, Love, Gold and Pleasure."

"Oh would I were a boy again, When life seemed formed of sunny years, And all the heart then knew of pain Was wept away in transient tears! When every tale Hope whispered then, My fancy deemed was only truth. Oh, would that I could know again, The happy visions of my youth."

"...there is a striking similarity in the surrealist and abstract painters attitude to the object;both have a horror of it in its proper context."

"The right creative act makes its own laws,and always will do."

"You see a long time ago life had begun Everyone went to the sun"

"A church full of singing, out of tune Everyone's gone to the moon"

"Nan, she died again, tragically. We decided to get her embalmed, we threw a bit of money at it. And the embalmer asked us if we had any photos of Nan that he could work from. But unfortunately, the only photo we had was of Nan on the log-flume at Alton Towers."

"You're probably like me, when your doorbell rings, your dog goes racing up to the door...but it's never for him, is it? "Who did you think it was going to be, one of your little friends?""

"I remember the shouts of "SCAB!" as my father went to work during the great dermatologists strike."

"I understand that there's a large party of Scottish people here tonight... [Silence] I'll kill that researcher!"

"Anyone got a van? [Silence] That's right, you never see them any more, do you, vans. Trying to spoil my DVD?"

"I've got a sister in Australia, so when I phone her up there is a slight delay on the line after I've spoken because she's a bit thick."

"The left side of the brain is responsible for speech, but then it would say that."

"Why is it only Tudor buildings we mock?"

"You know, he cries every time he sees a fossil, because he remembers it when it was running around. Thats how old he is!"

"He remembers when lizards were fish. Thats how old he is!"