I think I can only help to expose percussion to all sorts of people. The balance between the lighter and more serious side is important.

I've kept a diary since I was 11.

And as I grew older, I then auditioned for the Royal Academy of Music in London, and they said, well, no, we won't accept you, because we haven't a clue - you know - of the future of a so-called 'deaf' musician. And I just couldn't quite accept that.

Once you're in a particular country, and you're surrounded by musicians who are so adept at traditional music, you suddenly realize how much there is to explore and digest and learn and experience.

Concerts have to be seen as a real event for which the aim is to try and feed everybody.

Music really is our daily medicine.

I often play on the cello-bass side of the orchestra, because I prefer the deep sounds. I can't hear the violins well.