Of course, the recorder will never have the repertoire of the piano or the violin.

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.

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.

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

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

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.

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