Recording a CD - My Journey
If someone would have told me before my first CD how
much work it would be,
besides the strict musical part,
I don’t think I would have done it.
I had a label wanting to take over
the distribution of a solo album with me,
I had just had met the first sound engineer
who was able to help me forget my fear in front of microphones
and I had an idea of a program I wanted to record.
In my naive opinion, this was everything I needed.
After recording it, I was very happy
about finishing my debut CD and shortly time after,
I got a reality wake-up call.
I have found myself working in front of the computer
instead of the piano,
trying to solve communication problems
between the graphic designer and the
press company (of course I didn’t understand a word about
what they were actually talking about)
and answering questions about lamination,
some dpi numbers or paper thickness.
I mean really, who would have heard durung thier studies at the
Music University anything about 20p BL?
BUT, I am happy that I had to jump into this cold water,
because after this experience, recording a CD turned for me
out to be the most complex creative process.
I never stop asking the question “why?”at every step.
Why record this piece? Why place it between the other ones?
What do I want and need to say that was not said before?
Who am I as an artist and how do I want to reach and touch
the audience? What is unique about me and how do I keep my authenticity?
By playing concerts, we are used to “feeling” ourselves in the music,
but for me, the process of pronouncing answers
to all of these questions helped me in finding the lines of my
profile as an artist.
The result of every concert has to do with a lot
more then only the soloist.
There is the audience, the organiser,
maybe you have to stay
in a certain type of repertoire for different reasons,
there are always certain steps that the musician
takes towards the environment of the concert.
By producing a CD, there is no one and nothing
influencing the music and myself.
The music doesn’t go towards the audience,
the audience forms itself because of the music.
All of the other aspects (graphic, photos, marketing and a lot more)
are very important parts of the CD as a “product”,
but their role is also to create the perfect carpet
to carry the music you find inside.
The experience of a live concert will never be replaced
by a recording, that is why I would never try to copy the concept of
a recital on a CD and I am using
this different approach to create something new.
In a concert hall, you have a lot of people
and a whole celebration; getting tickets, taking an evening free,
dressing up, everything is at a chosen time you cannot change.
One is part of an atmosphere created in
that moment which is fantastic.
On a CD, the musician reaches the listener in his very personal
environment and I love the thought that it’s about
“you and me” only with the music as a bridge.
With my next album, Insomnia
I am getting very intrusive in this context with a program
that fits a sleepless night hour.
Not as a meditative basis to help the listener to fall asleep,
but by touching very different elements
of this strange and very intimate atmosphere –
impressionistic, bizarre, desperate and towards the end,
reconciling and fulfilling.
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