The Recording Diary

26 September

Moved the keyboard instruments over to Stoke-by Nayland Church after our very successful concert in Dedham.  It does seem a very good idea to try and perform regularly there; lots of our friends in the audience and it was packed; a real boost before we do the seriously hard work for the next three days.  Such a contrast to Wimbledon last week where we seriously thought that the number of instruments on stage (6) would outnumber the audience members…

So we went off at about 9pm to Stoke and met up with Ben […] the engineer who was in and already set up.  We got the harpsichord, spinet and organ into the church and quickly realized there was a serious bat problem.  This wouldn’t be a problem during the day, but I remembered a story from Colin Booth (harpsichord maker) who had supplied an instrument for a recording, left its lid open over night and come back to find that many strings had corroded and broken.  With a bit of detective work he established that the (nocturnally active) bats had highly acidic urine which would corrode the strings on contact.  Not wishing to test this story, I kept everything covered overnight and hoped they’d acclimatize…

27 September

In first to tune the spinet and check the other instruments.  Bit cold and slightly damp (atmospheric moisture, not bat pee) but OK.  Discovered Sally’s dulcian sounds best if a table is placed directly behind it (!).  The engineers know best…  Ben (Sansom) only with us for 2 of the 3 days so we have to get all the ensemble stuff done first before we get onto the solos.  All progressing nicely.  Afternoon and the harpsichord makes its first appearance.  Fabulous catering from the Holman kitchens, and our engineer shares a love of chocolate chip cookies with me which results in us buying the complete village shop stock.  How embarrassing.

28 September

 More ensemble music and the organ.  All seems to be going well.  Sounds good on the tape (apart from the bits I play in…ie all of it; why do I hate listening to myself so much?).  The two renaissance fiddles sound bright and crystal clear and the dulcian has a real earthy quality that just etches the virtuosic stuff fabulously.

29 September

Last day – solos all round.  A particularly hard day for Sally who throws off the Bertali Chaconne (Sonata 7) as if it was the easiest thing in the repertoire, rather than the most difficult.  Hope she doesn’t think she’s being paid by the number of notes though – we’ll be bankrupt.  And then with a “well that’s it then!”, it’s all over.  Handshakes and fast packing and I’m off to play Mozart in London!

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