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.

Percussion is physical, as most instruments are. The body must function well in order to play the instruments well. Last year I climbed Mount Kilimanjaro.

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

My favorite instrument is the snare drum. In Scotland, the snare drum is very prominent in Highland bands. The Scottish style of playing is in my blood. It's a very powerful instrument, but it can also be soothing, like velvet. It's a real challenge for composers.

I try to plant myself where I am and embrace what is there in front of me.

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.

Music is about communication... it isn't just something that maybe physically sounds good or orally sounds interesting; it's something far, far deeper than that.