I went to study in the Netherlands in my early twenties and somehow ended up spending seventeen years there. I was lucky to be invited to work with a number of great Dutch ensembles early on, so really learnt a great deal from that and built up enough varied work to keep me busy. I've always loved a variety of musical styles which I think was why I was attracted to the diversity and great chamber music, ensemble and orchestral culture of Holland.

Now in Australia I’m active in many groups around the country, including the Ironwood early music group, and initiated my own projects.

I especially appreciate the distinct visions of the different groups I have played with for a number of years. Groups such as Nieuw Ensemble, ASKO and Schoenberg ensembles, Ives ensemble, Ensemble MAE, etc. They all have their own takes on music and how to program, present and appreciate different types of music. The individual personalities and talents of members really shape the ensembles. Having these coexist alongside smaller chamber music groups, early music, many other genres, and a fantastic bunch of chamber and symphony orchestras really makes a vibrant music scene.

I happily played with these, as well as the Royal Concertgebouw Orchestra, Amsterdam Sinfonietta and the Netherlands Chamber Orchestra. I spent a couple of years in London and played with London Sinfonietta as well as travelling regularly to play with a number of groups in Europe.

My fondest musical memories of AYO would be the AYO National Music Camps and the joy of meeting many teenagers all with a great love of music – and good times! I remember travelling up from Adelaide on the train to Sydney for camp when I was 14 and what an adventure that felt.

I had just moved back to Australia to live when the first Australian World Orchestra was held and so it was also a wonderful welcome home feeling for me. I think we were all joyous at this combination of high level and beautiful orchestral music making combined with super positive energy. The number of excellent Australian orchestral players spread around the world certainly does reflect on the AYO training many of us began with.

I also love that AYO has expanded to cover many aspects of music making. Diversity and being open to all sorts of musical experiences is really part of my philosophy – and important in today's musical landscape with so many genres available.

Probably Georges Delerue – I recorded an album of his soundtracks together with London Sinfonietta while I was working with them. I also love Nino Rota, such as La Dolce Vita. I’ve participated in some lovely Italian tours and festivals over the years, so I have a bit of a soft spot for Italy.