How do you listen to music most often?
I prefer to attend live performances where I can feel the music through my other senses and enjoy the whole experience. I don’t generally listen using headphones or in a car because I don’t hear the sound well. Because I work with music day after day I prefer not to spend my leisure time doing too much listening – I would reach saturation point very quickly!
What was the first ever record/CD you bought?
I believe it was an LP of solo snare drum music composed and performed by Paul Price. I was eager to have a large collection of percussion recordings which, of course, was hard to do as there were so few featuring percussion alone.
What’s your musical guilty pleasure?
Buying far too many percussion instruments! I have already close to 2,000 and the sense of curiosity is not yet waning. I hope that one day to be able to share my private collection with the public, and am considering the best way of doing this.
If you found yourself with six months free to learn a new instrument, what would you choose?
Cello. I have always loved it. The late Jacqueline Du Pré was one of my great musical inspirations. It was rare at that time for women to play the cello, which made her all the more appealing. I love the resonance of the instrument and the fact that the whole body curves around it, feeling every part of the sound.
Is applauding between movements acceptable?
Absolutely. People should feel free to applaud whenever they wish. Live performances are “living” moments for all to enjoy and I certainly appreciate the audience expressing themselves whenever they feel the performance warrants an applause.
What single thing would improve the format of the classical concert?
Diversity in the structure of a concert. There are hundreds of ways of putting a concert together and yet we tend to go for the same handful of formats every time. With all the venues, repertoire, staging options and types of musician at our disposal we are missing out on lots of opportunities to engage with wider audiences (and existing audiences in new ways).
Do you enjoy musicals? Do you have a favourite?
I have only had the opportunity to attend a few but have immensely enjoyed each and every one. I recently saw Billy Elliot and The Jersey Boys, both of which were both superb!
Which conductor or performer of yesteryear do you most wish you could have worked with?
I would have loved to have collaborated with Jacqueline Du Pré and Glenn Gould. Both were immensely gifted musicians who died far too young.
What, in your opinion, is the best new piece written in last half century?
This is virtually impossible to say because there have been so many extraordinary pieces. However, I will mention Veni, Veni Emmanuel by James MacMillan. It’s a great piece that has solo percussion as the driving force throughout. I feel very honoured to have given the premiere and I still perform it today.
Which non-classical musician would you love to work with?
Eminem and Kate Bush. Their music fascinates me and I think it’s very important to work with people who have a very different approach to music from my own.
Imagine you’re a festival director here in London with unlimited resources. What would you programme - or commission - for your opening event?
A double concerto for percussion and rapper. Percussion and voice are the most primitive forms of communication so we feel incredibly connected to them. I have always wanted to try combining them in this way!
What do you sing in the shower?
I’m as quiet as a mouse in the shower!
Dame Evelyn Glennie performs today, Monday 10 August, in a chamber music Prom celebrating her 50th birthday; 1pm, at London’s Cadogan Hall. Listen to the broadcast on BBC Radio 3 and iPlayer
