Quotes By Evelyn Glennie

And as I grew older, I then auditioned for the Royal Academy of Music in London, and they said, well, no, we won't accept you, because we haven't a clue - you know - of the future of a so-called 'deaf' musician. And I just couldn't quite accept that.

I love out-of-the-way, rugged places. For me, holidays are about the experiences, and the people, and the memories, rather than sitting on a nice beach getting tanned. I try to plant myself where I am and embrace what is there in front of me.

I often play on the cello-bass side of the orchestra, because I prefer the deep sounds. I can't hear the violins well.

I just assumed the world was full of solo percussionists. I couldn't find sticks or music or anything where I was, but that was expected because there was nothing there anyway. And I think that was possibly the greatest asset for me, just not knowing.

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

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.

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

I didn't decide to become a musician until the age of 15, which is quite late.

My hearing is out of the ordinary as others might see it, but not for me. I'm used to my hearing in the same way that I'm used to the size of my hands.

My first real foreign holiday was my honeymoon 20 years ago, and we went to Bali. It was particularly special for that reason, I enjoyed it very much - I had packed music scores and a practice drum pad, suspecting that I would be completely bored, but actually they remained in my case.

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.

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.

Music really is our daily medicine.

Apart from Scottish traditional music, I wasn't really influenced by any kind of music. I just basically followed my own instincts.

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

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

I walk into a kids' store, and it's amazing, the types of instruments - little squeaky things, rattling things, spinning tops.

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.