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.

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.

In contemporary music, the challenge for me is to make the recorder sound as naturally expressive as, for example, the violin - without doing it too much and forcing the instrument. It is very easy to be overly expressive on the recorder, and finding the balance is quite difficult.

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.

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

Looking for inspiration in expression, I have actually always looked to singers and violinists. I have never really looked only at the recorder as a remedy for my expressions.

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