In the fall of 2015, I was the session producer for the Arthur Bird: Music for the American Harmonium recording project at Church of the Epiphany in Manhattan. I worked closely with Artis Wodehouse, the keyboardist and the project’s executive producer, in auditioning a number of recording venues around the metropolitan area, discussing instrument technicians and recording engineers, as well as the best recording techniques that would not only faithfully represent the sound of the repertoire but the sound of the Mason & Hamlin harmonium and the sonic emulation of an historically correct performance space. With an array of ribbon microphones and small diaphragm measurement condenser microphones, Denise Barbarita, the recording engineer, expertly realized the balance of these sounds that the three of us had been discussing for several weeks. It was a delight to work with both of them.
I have worked with Artis for a number of years before this project, as a recordist of her live performances in New York City. It was a special opportunity to productively juxtapose her rigorous and virtuosic approach to 19th century American keyboard music to these important works of Arthur Bird in my role as session producer, and it was an honor to have her trust in my management of the balance of her art and the art of each composition.
The following is taken from a description of the recording on Amazon.com:
Artis Wodehouse explores a large body of art music composed by Arthur Bird (1856-1923), an American living in Germany. He composed for the Mason & Hamlin American Harmonium, also known as the “normal harmonium” which was Mason & Hamlin’s effort to standardize the tonal and playing characteristics of the harmonium, especially key compass and dividing point on the keyboard, so that composers could write for it knowing of the parameters, as they had been able to do for the European harmonium since it had been standardized in the mid-19th century. The American harmonium had become very popular in Europe by the late 19th century so that the substantial European sales and promotional staff of the American firm, Mason & Hamlin, was keen to further develop the European market by allowing their instrument to become ever more recognized as a legitimate vehicle for serious art music. Arthur Bird, who enjoyed a substantial European and American reputation as a performer and composer during his life, joined the effort, perhaps on commission, writing extensively for the American harmonium.
The 24 works by Arthur Bird recorded here are selected from five collections published in Germany 1897- 1909, Opp. 37, 39, 42, 44, 45, plus two unpublished works. Artis Wodehouse plays a restored Mason & Hamlin.
The following is a video excerpt of one of the recording sessions:
[embedyt] http://www.youtube.com/watch?v=OQZ3OaflFM8&width=960&height=570[/embedyt]