Quotes from Evelyn Glennie

Percussion is physical, as most instruments are. The body must function well in order to play the instruments well. Last year I climbed Mount Kilimanjaro.

I think I can only help to expose percussion to all sorts of people. The balance between the lighter and more serious side is important.

When I was 12, I happened to see a schoolmate playing percussion, and it looked interesting. I asked for lessons, and it felt right.

If I just simply let go, and allow my hand, my arm, to be more of a support system, suddenly - I have more dynamic with less effort. Much more, and I just feel, at last, one with the stick, and one with the drum.

There's still a lot I need to do as a player, as a musician, as a sound creator. I have commissioned 170 pieces: that's still not enough, there are still lots and lots of composers I would like to approach. When I see a composer and I see a performer, I think to combine those forces.

A large part of my work has been collaborating with composers; I think we've commissioned about 140 pieces now, a lot of them percussion concertos.

The audience plays a huge part in how a piece will actually form. They really allow the performers to walk a tightrope in a way that never seems to happen in the privacy of your own four walls. I'm listening to the audience, and they're listening to me.

Society cannot continue to disable themselves through their need to categorize people or make assumptions as to another individual's abilities.

I suppose I don't hear things, but I listen, if you know what I mean. And there is a big difference between hearing and listening. So it's like a conversation, you know. When you speak to someone, it's one on one, and that's exactly how I play.

Music is about communication... it isn't just something that maybe physically sounds good or orally sounds interesting; it's something far, far deeper than that.

Once you're in a particular country, and you're surrounded by musicians who are so adept at traditional music, you suddenly realize how much there is to explore and digest and learn and experience.

My role on the planet is to bring the power of sound.

I hope the seeds I have sown will be taken up by those who will follow me because the journey I have begun cannot be undertaken in isolation.

If we see someone in a wheelchair, we assume they cannot walk. It may be that they can walk three, four, five steps. That, to them, means they can walk.

Your mallet or your stick goes through the instrument, the sound goes out and then wherever the sound goes nobody knows, you know.

Before my teen years, I was losing my hearing pretty quickly, and I was getting very, very angry. I was beginning to become an angry person because of that.

The human body and mind are tremendous forces that are continually amazing scientists and society. Therefore, we have no choice but to keep an open mind as to what the human being can achieve.

A lot of things which come with a high profile will always be criticised one way or another.

Percussion is the most adaptable family of instruments. The biggest challenge is to project percussion in a lyrical way.

Concerts have to be seen as a real event for which the aim is to try and feed everybody.

There are many collaborations I'd like to explore. One is to co-write a rap concerto with Eminem.

I want to be able to say on my deathbed that I reached a few people. That would be very nice, just to be able to say that.

I am really quite fascinated by echo-locating bats and dolphins and have always wondered how sound affects the unconscious brain.

Music really is our daily medicine.