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

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

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.

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.

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

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.

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