I just assumed the world was full of solo percussionists. I couldn't find sticks or music or anything where I was, but that was expected because there was nothing there anyway. And I think that was possibly the greatest asset for me, just not knowing.

I hope the seeds I have sown will be taken up by those who will follow me because the journey I have begun cannot be undertaken in isolation.

A large part of my work has been collaborating with composers; I think we've commissioned about 140 pieces now, a lot of them percussion concertos.

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.

I just assumed the world was full of solo percussionists. I couldn't find sticks or music or anything where I was, but that was expected because there was nothing there anyway. And I think that was possibly the greatest asset for me, just not knowing.

I associate going to an airport with work because I travel so much with my job. So when I have a few days free from work, I tend to stay at home.

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