There are a lot of recordings of the same pieces of classical music in this world, and being a classical musician, I have always wanted to record the works that I grew up loving and studying. There’s always been a thought in my head, however, to not simply set out to make an album that’s only a perfectly accurate reading of a score, recorded as if you were listening to it in a concert hall. I wanted to make something that was true to who I was in the moment, true to what I was interested in, and let that be as integral to the story of this record as the music itself.
To that point, in making this I was particularly interested in
the intimacy that can be found between music played by very few people for very few people, in this specific case by one person for ultimately one listener at a time
the mental, interpretive space where you make, on an instrument, dots written on a page make…music…that is a natural sequence of thoughts and emotions
the sound of old studio recordings of the great classical “masterworks”
I’d like to specially thank
Nadia Sirota, producer of this album, for helping me capture the most interesting version of who I was for a few days in October 2016.
Jon Low, for his hard work, imagination, and ingenuity in engineering this record.
Aaron Dessner, for the generous use of Long Pond and for letting me put some extremely niche 20th century classical music on this exciting platform.
Alex Sopp, for the incredible portrait of Britten that’s serving as album art for this record, which she casually did one day on vacation. Seriously, it’s not fair.
the Sphinx Organization, who funded this album through giving me their Medal of Excellence in 2016