When you play the oboe, the flute or other wind instruments, there is something between you and the breath; there is the embouchure, the reed, etc. But with the recorder, I receive an immediate response from the instrument. This is something that attracted me to the instrument, that I could immediately feel the response of what I was doing.

In concert, I often try to feel the audience and feel their way of hearing. If I feel that there is no contact between the audience and the music, I try to look stronger within myself, hoping that this will lead to a better contact.

It is important to note that the world changes and that perception of music changes as well.

If you ask me about music and how things should be played, I believe that music-making is the combination of having learned how to do something right, what one feels is right to do in the moment, and the way the audience is listening.

I think that today, in Europe at least, people don't tend to think so much about the instrument that is producing the music; they are more interested to see if the musician actually has something to say.

It is not very natural to make dynamic changes with the recorder. When you play a long note and want to make a diminuendo, the pitch will fall, and vice versa. So you need to adjust these with your fingers.

Denmark is, of course is very much like Germany: in terms of culture, the same kind of thinking, etc.