The long and winding road towards our first duo CD

Our first recording was attempted just before our debut in London in May 2003. There was a big problem with balance, not helped by a concert grand and the power trip I had over the guitarist.


Revised from Facebook Notes, Sunday 21 December 2008

“Do you have any CDs of your duo?”

This is a typical question we answer with “No. We are working on one.”

We have been saying this for years.

Our first recording was attempted just before our debut in London in May 2003. There was a big problem with balance, not helped by a concert grand and the power trip I had over the guitarist. If he complained that I was too loud, I’d shrug my shoulders and reply, “tough luck!” It took a lot of recording, listening, and re-recording before I learned to compromise.

Not all pieces from the London session were good enough for a CD, but we managed to extract a few audio clips for our website, such as Fantasia of Swiss composer Haug and the less serious extracts from Happy Hour Sandwich of Austrian composer Schwertberger.

After several more recording sessions, we concluded that it was very difficult to record the piano and the guitar. We needed time to experiment with positioning of the microphone and our instruments. We booked the main hall of the Utrecht Conservatory on many occasions for this very purpose.

We have not played the Sonata of Mexican composer Ponce in quite awhile. Amsterdam-based composer Allan Segall’s When Back, Stravinsky, and the Who Met is a favourite of those who grew up with The Who.

We even tried to record ourselves at home, using a Mac webcam and stereo microphones for youtube.  Bach’s Badinerie arranged by Robert Bekkers for piano and guitar:

Some live recordings yielded surprising results. Lan Chee Lam’s Drizzle (2007) would have been even more exciting to watch because I go into the piano and pluck the strings. The outdoor summer bugs (what do you call them?) in Cortona, Italy provided good percussive effects to Henk Alkema’s Sailor Talk (2007).

The entire Maui concert (December 2007) was audio and video recorded. Below is an extract from the first piece written for us, by the Haarlem -based composer Erik Otte.

Danza de la Vispera from Suite Rio de La Plata (2004) by Erik Otte

We saw what it took to create the perfect close miking environment at the Houston Public Radio last December: a sound-proof recording studio with a grand piano and several good microphones. One result from our live performance was David Harvey’s Floating from Little Suite which we will premiere in its entirety in Spain in early May.

What about an empty church?

The sound engineer Gaston Matthijsse, invited us to Belgium to try an old church in Vaals, famous for being on the Dutch-Belgian-German border. When we arrived in early May 2008, much to our chagrin, the reverberation was too high as most of the furniture had been removed. Still, we spent an entire day recording an entire CD-worth of music, three centuries of music written for piano and guitar. Robert loaded it on his ipod to listen closely and decided that we needed another try. This time, a full church.

It was for this reason that we set up a live recording in a monastic church in Warmond on 30 November 2008.

Summer (3rd movement) from Vivaldi’s Four Seasons, arranged by R.A.Bekkers

However long and winding it is to record our first CD, we can at least confidently say that no CD will capture the live concert experience. Having said this, we are keen to try podcasting!

Author: BLOGmaiden

As one of the earliest bloggers (since 1999), I enjoy meeting people who embrace "out-of-the-box" thinking and fear not the unknown. I believe in collaboration for sustainability because it increases stakeholder value.

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