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Ludwig van Beethoven's opus number 27 is a set of two piano sonatas both entitled Sonata quasi una Fantasia for their combination of freedom of form with sonata structure.
For the Teldec label he has recorded the complete keyboard music of Joseph Haydn, all the Beethoven piano sonatas and variations, and both Brahms piano concertos with Harnoncourt and the Royal Concertgebouw Orchestra of Amsterdam.
Following the success of works such as the Piano Sonata (1959), performed at the Domaine musical, and works involving choice and chance, he spent a period in America during which he encountered avant-garde figures such as Cage, Merce Cunningham, and Rauschenberg.
Principal work includes the opera The Bride stripped bare by her bachelors, even (1964-1986), after the painting by Marcel Duchamp, a Symphony in three movements (1989), concerti for piano and for violin (1964; 1989), a number of songs, the piano sonata Bachelor machine (1985), and various pieces for chamber ensembles.
She has premiered a number or works by Brazilian composers, including the piano quintet by Henrique Oswald and the Octet by Villa-Lobos in the UK, João Guilherme Ripper's Piano Sonata, Desafio for Piano and Guitar and Sonata Breve by Marlos Nobre at the South Bank Centre and Wigmore Hall.
Potter's recording of Charles Tomlinson Griffes' Piano Sonata is referenced in the 1943 first edition of Edward Maisel's biography of Griffes, though due to its unavailability at the time of the second edition, other recordings were referenced instead.
He also holds a doctoral degree in musicology, with a thesis on the subject of Pierre Boulez' Third Piano Sonata (1979, under Constantin Floros in Hamburg).
In 2002, she gave her final performance of the complete Beethoven piano sonata cycle, which she presented over three consecutive seasons in Los Angeles and Pasadena, California.
Examples from the classical reportoire include Schubert's Piano Sonata in A minor, Op. 42, first movement, mm. 32-39, Brahms' Opus 116, No. 3, and many pieces by Tchaikovsky such as the first movement of the Pathetique Symphony.
The musicologist James Webster, basing his remarks on his study of two leading urtext editions of Haydn's E flat Piano Sonata, H. XVI:49, suggests that players interested in historically informed performance ought to play from a facsimile.
In 1993 he succeeded in convincing noted Haydn scholar H. C. Robbins Landon and the pianist/scholars Paul and Eva Badura-Skoda that six piano sonatas he had composed were long-lost works by Joseph Haydn (Beckerman 1994; Linskoog 1996).