Autumn Rain In A Secret Garden Csaba Pengő

• 1 Contemplations Suite, Part I. Long Marriage 03:51
• 2 Contemplations Suite, Part II. Winter Field 05:02
• 3 Contemplations Suite, Part III. Peace 02:30
• 4 Contemplations Suite, Part IV. Mayfly 02:52
• 5 Contemplations Suite, Part V. Autumn Rain In A Secret Garden 03:18
• 6 Contemplations Suite, Part VI. Ruins Of Numantia 03:08
• 7 Contemplations Suite, Part VII. LuNá - Broken Thread 04:28
• 8 Island Street 04:25
• 9 Chain Gang 02:43
• 10 Eastern Europe Express 04:16
• 11 Circles 03:30
• Total Runtime 40:03

Info for Autumn Rain In A Secret Garden

It is a very difficult task to prepare for a recording that requires so much energy and attention. As this is not the usual recording with a thousand cuts and replays but follows the classical recording method (rehearsing at home, recording in the studio), it requires a very high level of preparation from the performer. Since it is a solo performance, the situation is made even more difficult by the fact that there is no other instrument to rely on, even if only for a short time.

You can hear every little noise from the bass, so the whole piece must be played with the utmost attention, and if that attention is distracted for as little as a moment, you need to start the recording again. In this case, two and a half studio days were allotted for the twelve pieces, which proved sufficient time for the recording. Some compositions were recorded on the second time, some on the fifth, and some on the first. It was a great help that my friend, László Gazdag, who also made my first album, gave me maximum support during the studio work, for which I am really grateful to him.

I knew that the “stimulus rich” home environment would make it very difficult to prepare for the studio session. I would have been able to practice only as a sideline to the daily chores at home, and directing my thoughts in one direction would not have been effective. So, I rented a small cottage in the countryside, in a lovely little village called Tiszasas. Here, in the undisturbed, quiet countryside, I could really concentrate on the music. I systematically went through the songs. I picked one, recorded it, listened back, corrected it, and then checked it again after replaying it. This is a very tedious, labor intensive and attention- demanding process of practice but in this environment, it became a focused and passionate creative process.

Csaba Pengő, double bass

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