The result is actually experienced during the first harmony in the rehearsal. Then voices come out that you didn’t believe were so present and doable. The idea actually came from my wife, more or less. She said you do everything, you play everywhere, but why don’t you ever do anything about Wagner? That makes sense, from the original music. Walkürenritt and then you did your first piece, that worked as well as we thought, you should continue what you did then. With such a recording, the sound is of course always in the foreground for and to find a room that transports this music well, that was not so easy. Because we want it to sound big, so you need a big room. On the one hand, it must not be too acoustic, so that virtuoso passages can be brought across well, but it must also not be too dry, so that this volume, which this very pathetic music has, can also be transported. I have a favorite piece on this new recording: for me it’s the Treibhaus, a song where actually a lyrics would be very important. But that is so embracing and the complexity of the harmony is so stunning, that is almost not so audible in the original. It goes down in the piano and there’s a singing voice over it. But you have made it so complex that really the whole ensemble is involved and it is a fantastic sound, great mood, for me. That’s my favorite song on this CD. That was in 1974, that was the first recording, I think. But we’ve played together before. In 1974 we met in a really professional way. Then also recorded the first records at that time. It was very successful, we played a lot of concerts and hen Bach’s 300th birthday came closer and too little to us to perform Bach with five people. Then we extended that to ten people and that was actually the initial spark for German Brass as we now know it.