My father is a violinist and my mother is a pianist, so I've been hearing music all my life. I started playing at three and had my first music teacher at five.

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.

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.

To me, the advantage of the recorder is that it is so natural. I love the fact that it is just a piece of wood, that there are almost no mechanics involved.

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.

I've always been very inspired by people who can make their instrument sound very natural.

Each composer has their own language, and I try to meet the challenges, even if at first sight, they appear impossible.