You’ve been associated with the music of Kaikhosru Sorabji for a while now, but how did you first come across him?

I was probably about 13 and a bit bored in the holidays. I was reading this little dictionary of music – because I was a complete nerd – and I came across this guy’s name and thought “Wow, that sounds interesting…” It was about ten centimetres of column space, but it got me intrigued. Then, about a year later, I was going through the listings of BBC Radio 3 and I noticed his name again. It was going to be his First Piano Sonata played by Yonty Solomon, and so I thought “Oh, I’d better listen to that.” So, I did, and I thought, “well that was a very worthwhile but slightly odd experience.” And that’s how it started.

Some Sorabji pieces I’ve heard are fiendishly difficult – in fact, almost impossible to play – but, apart from the obvious challenge, what is it that attracted you about his music?

I think it was a combination of things. One was that, in a certain respect, he embodied a lot of the music...