Starting in 2012, I began to explore self-publishing my own albums, eps, and singles. Before that, I was simply offering my live demos as free downloads on my old site. But I discovered the oddest thing–nobody would take advantage of listening to my recordings until I started charging money! @_@
So, that’s when I began compiling and re-recording, by myself and with my friends, some of my earliest compositions. I did this because, though they were works that were small and simple, I and those who played them still loved them. I basically wanted to have an audible record of their existence as my repertoire list grew in number and scope.
As technology has improved and become more affordable, I’ve taken to releasing quite a few little recordings of my chamber music — in fact, I have my newest self-produced album coming out in just another week!
All this begs the question: If I have the capability of cheaply producing good quality albums on my own, why do I need to fund-raise for this Ultimate Leviathan Project? Why not go it on my own? Simply put…
This piece is just too big for me to produce all on my own.
- I’m the only one I know personally who owns and is comfortable playing on a 6-string electric violin, who can play (and not perfectly, either) all the demands required of the solo part in this concerto.
- If I’m concentrating on playing the solo myself, I can’t focus on the accuracy of the orchestra’s parts and the quality of the rest of the recording.
- If I’m going to hire such a unique soloist, it might as well be someone of quality, who I don’t have to worry about and who I trust to pull it off artistically — not just “play the notes”!
- I need a strong orchestra of musicians, who are accustomed to playing and rehearsing together. I really can’t afford by myself a union group of quality musicians and conductor, plus all the rehearsal time required to get these parts down exactly right!
- This piece — I’ve discovered — is quite challenging, in a Mozart sort of way: it requires careful balance in all the details of the whole ensemble, for all 25 minutes of the concerto’s length. Great attention to detail is required, and I need to be free to listen for all those details and make sure they are conveyed accurately.
- And then there’s the hall, the equipment, the editing and mixing and mastering of the recording…
- In short, because this piece is my most difficult-to-present-piece (remember: it wasn’t even performed until 8 years after I wrote it!!), I want to spend quality time and funds, on a quality team I trust who can help me make the ultimate presentation of this work for all posterity!
PARMA has proven themselves to be a most fantastic company who cares for all those involved, from the composer to the musicians to the engineers to the art and marketing teams… And I just couldn’t think of anyone else I would trust with such a huge project like this!
The estimated, basic $25,000 cost for the recording of Leviathan of the Ancient Deep (not including any other recordings needed to complete an actual album-release around the Concerto) will cover EVERYTHING, from the musicians and rehearsals, to the engineers, to the recording editors, to the hall and any other rentals we need… AND all post-production costs! Really, seriously, it’s a great bargain for something as massive as this! 🙂
Thank you for your help in spreading the word and contributing however you can! Together, we will see Leviathan come to Life!