I have always personally preferred to think of what is more difficult for my instrument, and not what is the most natural or the easiest. I enjoy the challenges - especially those that come with composers who have written contemporary music for the recorder.

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.

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.

When I was very young, Denmark was a very small country, and we still are, but it was then very provincial and everybody knew everybody. Now, we are very much like the rest of the world, especially with the arrival of the internet.

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.

Composers often think in terms of music and not of an instrument itself.

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