In the end, it was just a very inspirational space. And we could easily adjust the electric lights if I wanted a different ambience. Also, there is natural light, which I really appreciate. And it isn’t too cavernous, so I didn’t have the feeling I was playing for an empty hall. We could have it to ourselves there was nobody in the office there were no distractions. We chose it because it was very practical during Covid. Why did you choose to record in the Meistersaal, an early-20th-century Berlin concert hall? They were not written to be played together - they are very individual pieces - but the slight adjustments I could have made to improve the flow of the recording were not worth compromising the tradition. After I recorded the nocturnes, I did think about the order. I am also traditional in how I listen to and present music. I’m the type of person who likes sending out postcards written in fountain pen, who uses a landline phone with a rotary dial. In recordings, the complete nocturnes are usually presented in chronological order. To play them in front of people - to break that private bubble - has been the challenge. The nocturnes make me feel like I’m at home at night and I have an emotion I want to express they’re pieces I play for myself. I have been scheduling many of them in my recitals to get that experience of communicating them. They’re not technically difficult - you can approach them from an early age - but it is very difficult to make them sound good. I had dreamed of recording them for quite a while, but I knew that to do it well I would have to play them in concert first, to get the right emotion. How did you prepare for this new album of the nocturnes?
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