LDV75

20 WALTON • GRISI • PROKOFIEV The piece by Gwenaël Mario Grisi also changed a good deal, since a cadenza was added between the concert in April and the recording! It lasted less than a minute, which I thought was a shame. Then Gwenaël suggested I write it myself . . . It was inconceivable for me to do that without becoming disconnected from the style, or misinterpreting something. So we ended up working in dialogue. I gave him my ideas, which he put into music. We kept experimenting and innovating until the work was finished during the recording! Did you evaluate the different takes, by making time to listen to them, or, on the contrary, did you record with an energy and a method similar to live recording? The recording was scheduled down to the smallest detail. I went into the control room to listen to the soundchecks, in the interest of getting the balance right. Listening in that way allows you to refocus, to reconnect. It places the music in perspective: the beauty of tone, the sound planes, the space. By trusting the recording team implicitly, I kept my focus on the essential thing: the music.