GEOFFROY COUTEAU 21 In what frame of mind were you when you arrived at the studio, and how did you prepare for this new experience? Having performed the piece in concert had helped me refine my artistic vision and define the scope of my exploration. The next step was to bring together the conditions conducive to a successful recording: the venue, the instrument and the team. I was fortunate enough to be able to record at Le Théâtre Auditorium de Poitiers, which has one of the finest acoustics for the piano. I also chose a magnificent Yamaha piano, prepared by François-Xavier Soulard, an extraordinary technician with whom I have worked for some twenty years. Recording a disc also means relying on close collaboration with the artistic director and the sound engineer. It is comparable to a nuance or a colour that runs throughout the entire album, so mutual trust is essential. Frédéric Briant and Dominique Daigremont had already worked with me on the Brahms concertos; together we sought to create the best possible sonic environment. Living a collective adventure is a powerful aid in creating the ideal conditions in which to bring one’s musical ideas to fruition.
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