Modern Music Production for Classical Music.
Thoughts on Producing
To me, a producer must be a musician first. Not only is it necessary to be a capable and competent instrumentalist— I also believe that one cannot truly capture a musical work without deeply understanding its inner architecture. Furthermore, since a score is merely a transcription of a higher musical idea, it usually does not represent the work itself. Thus, following every iota in the score does not necessarily lead to an interpretation that is true to the actual work.
Having to regularly navigate the process of translating thought into notation as an active composer allows me to help performers connect more deeply with the composer’s intent and not only with the black dots on paper. There is a lot to be said about the interdependence of music theory and interpretation (and what musical interpretation actually is). I contributed an essay on this topic to the Festschrift for my composition teacher Reinhard Pfundt, obtainable here.
As an active pianist, I am a practitioner at heart. Classical music is not to be placed on a pedestal, but is a living, breathing art form. Coming from the stage myself, my guidance in the studio is grounded in reality, offering practical, honest, no-nonsense insights.
Centering the Performer
The recording studio is a vulnerable space. I take pride in the fact that musicians feel safe and understood under my supervision. I value deep, long-lasting creative partnerships—such as my 15-year collaboration with Víkingur Ólafsson.
To paraphrase communication theorist Friedemann Schulz von Thun:
The producer is a guest in the musician’s kingdom.
My focus always lies on the artist’s vision. I believe that humility is a vital asset in music production: it allows to see the performer, honor their ideas, and create a space where they can develop freely.
Imposing musical directions onto an artist can lead to results that feel intellectually understood but do not stem from an inner necessity.
This is why good producing requires a great sensitivity to the person behind the instrument. Sometimes, a musical challenge is solved through a technical adjustment—like refining a pianist’s Gesanglichkeit through better fingering. At other times, technical issues like intonation may stem from personal factors like fatigue. Ultimately, a good producer knows when to provide guidance—and when to remain silent, giving the artist the space to find the answers within themselves. When there is no need to talk, there is no need to talk (but don’t worry, I’ll still tell you when your execution of an ornament leads to parallel fifths).
Víkingur Ólafsson – Kaldalóns: Ave María (Official Music Video)
Audio produced and engineered by Christopher Tarnow | “From Afar” (Deutsche Grammophon)
Alice Sara Ott – Field: Nocturne No. 9 in E Minor, H. 46 (Official Music Video)
Audio produced and engineered by Christopher Tarnow | “John Field: Complete Nocturnes” (Deutsche Grammophon)
The Album as an Independent Art Form
I am convinced that even in the classical realm, an album should be understood as more than a mere documentation of a performance. In both engineering and production, I believe that an album is an independent art form: a curated experience that transcends simple documentation to reach a deeper musical truth.
My track record —spanning over 2,000 credits, and over a billion streams—places me among a select group of producers worldwide. Yet, what defines my work is a rare degree of independence: I have achieved these numbers outside the structures of a major studio.
This autonomy allows me to remain answerable only to my own artistic standards and the vision of the musicians I collaborate with. I choose my projects based on musical substance, not commercial reach. To me, the depth of an artistic concept will always be more important than the fame of the performer. I believe in content, not packaging.
In my career, I have encountered two distinct approaches to making a classical album. For some, the primary goal is to satisfy the ‘gatekeepers’ — these artists record albums for the critics and peers. Hundreds of such albums with core repertoire are thrown on a saturated classical market each year, providing little value other than serving the marketing needs of the respective artists.
But the musicians I am passionate about collaborating with are those driven by completely different questions: What makes their interpretation unique? What does it add to the work’s reception history? Is there a deeper reason to record the album? For them, I like to work as an enabler – a dedicated partner working to bring their artistic vision to life with my greatest enthusiasm. When an album comes from a place of true conviction, the clock becomes irrelevant to the team.
Technical Excellence
My equipment meets the highest industry standards. Providing a flawless signal chain is a fundamental requirement that allows the technology to disappear so the music can take center stage.
Microphones by Neumann
Converters and Preamps by RME and Antelope Audio up to 192 kHz
Redundant MADI-based mobile recording on two laptops
Professional mixing conditions with monitoring by Neumann (KH310, KH120 and KH810), a digital room correction system and 4 PSI Audio AVAA C20.
Cloud-based backups for absolute data security
Christopher Tarnow – Dipl.-Tonmeister / Recording Producer
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