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.

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.

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.

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.

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.