Carnegie Hall, New York City.
We recorded the album just after our recital there--it's the editing, mastering, design and manufacturing that have taken so long!

Brian and Erin Horner next to our poster at Weill Recital Hall.

Robert Olmsted was our engineer in New York.

Our recording session in New York was the morning after the Carnegie Hall concert. I was rather exhausted!

Daewoo Kim was our engineer in Nashville.

Brian Horner at our recording session in Nashville.

Liz Avery at the piano with me looking on.

We had a magnificent 9-foot concert grand at our recording session in Nashville.

This was one of our listening sessions, right after we finished recording. I'm on the left, sitting next to engineer Daewoo Kim. Across from us sit Brian Horner and his wife Erin--the pair had just played my Wedding Pieces. I think that is what we were listening to. Unfortunately, we decided not to include those pieces on this album.

Brian and I, at the editing session in Nashville. We are both talking at the same time, as usual.

This is designer Sherri Tracinski's first, rough concept sketch for the album cover. At the top, she points out to herself the "city lights in fog." The area below the lamppost is a circle of light where we wonder if our serenader has been or will be. The basic idea of the artwork is to suggest, without literally showing, a man serenading a woman--such as Cyrano de Bergerac serenading Roxanne, but in a modern setting.

This is Sherri's early layout sketch. As you can see, it broadens up the view to a wider vista. It is interesting that she later decided to set off the main building on the right by putting another street to the left of it.

Sherri sent us this image as an indication of the color palette she wanted to use.

Sherri did a lot of preliminary work before diving into the watercolor. This is a value study, for the shades of light and dark.

I took some pictures of buildings in New York at night, to fuel Sherri's imagination as she created the painting

Another building picture...

And another.

A building elevation sketch, another of the preliminary drawings Sherri used to prepare for the watercolor

While Sherri was creating the artwork, her son Walter took a keen interest in the project.

This is what Sherri called the "underpainting" -- the first layer that serves as the background and base for the later colors. This layering is very hard to do with watercolors!

An intermediate stage in the creation of the watercolor. As you can see, the main focus, the builing on the right, has been left for last. The background elements go in first.

Nearly Complete.

We tried a bunch of different options for placement of the text. This one is conspicuously missing the name of the composer!

This approaches the final version, but is too "bottom-heavy."

The final album cover--warm yet mysterious and dark, just like the music. (I think this image looks a little more green than the real thing--the final version is more midnight blue.)