SALOME JORDANIA 23 Is it so different from the concert? Yes, I hadn’t realised just how different recording is from live performance or from daily practice. In the studio, you have to give100% continually. At one point, I felt physically ‘on fire’. In the middle of the album, you have included a very mysterious piece by Kaija Saariaho; ‘Prelude for Solo Piano’. It feels as though we’re straying onto unknown paths, with no discernible way out. Why did you choose this piece? I have a deep affection for this work. It is undoubtedly the most cosmic piece on the album. The colours it seeks to create seem to come from another world. As in Liszt’s B minor Sonata, nothing ever truly reaches a conclusion. There is no full stop: everything remains in suspension open onto the unknown, onto a void. This work carries within it an abyssal quality, and I needed that sense of emptiness before entering the world of Liszt’s Sonata.
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