Andrew Keener - Record Producer for The Raphael Ensemble

Andrew Keener (b. 23/3/54) began as an independent classical recording producer in the early eighties, having studied at Barry Boys' Comprehensive School, in South Wales and the Faculty of Music at The University of Edinburgh (B.Mus, 1975). After a short spell as a school music teacher, ( he ran screaming from the profession, thus avoiding much damage to himself and his charges), he worked at EMG Handmade Gramophones in London's Soho Square. This was something of a "gentleman's record shop" - "can you send these records through the diplomatic bag" was among the most frequent customer requests. It was while working here that he became known to the great and the good of the recording industry, among them Ted Perry (about to form Hyperion Records), Quita Chavez (then of Phonogram), Robert Layton, John Lade (of BBC Record Review) and Simon Foster who, as manager of Classics for Pleasure, shared Keener's obsession with vinyl.

Thanks to these and others, Keener was let loose on sessions which, as a former observer of such occasions, he felt would be easy. Wrong. His first sessions were for a trusting Ted Perry and, in terms of diplomacy, timing and authority, they left much to be desired. Never mind, said Perry as he led a tearful Keener away from the session, we'll make lots more records together.

This faith led to others engaging Keener. First orchestral recordings were for Classics For Pleasure and Hyperion, followed by work for RCA, ASV, Hyperion and EMI.

The joy of being an independent producer(as opposed to a staff producer for one of the big classical companies) is that the work is generally artist-driven. Artists with whom an independent producer 'clicks' will ask for him/her - and generally be successful, depending on the policy of the record company in question.

Nowadays, Keener works with artists such as The Raphael Ensemble (recording in St George's Brandon Hill, Bristol over two normal session days, ending with a concert, also recorded - much useful material is often obtained thus, the artists being free of "is-it-together-and-in-tune" worries that have occupied them over the previous few days), Steven Isserlis, Nigel Kennedy, Leonard Slatkin, Vernon Handley, Sir Charles Mackerras, Andrew Litton, Stephen Hough, Peter Donohoe, Schubert Ensemble of London, The Nash Ensemble, Sir Neville Marriner and David Pyatt.

As a producer, Keener is more musical enabler than technowizard. He's lucky enough to work with top engineers such as Tony Faulkner, Mike Hatch, Mike Clements,Tryggvi Tryggvason, Arne Askelberg, Simon Rhodes and Antony Howell. Relating to musicians, to the way that they interact with each other, is a source of unending fascination. As a mere fortieth-rate cellist himself, Keener relishes the vicarious contact with fine players.

Awards include those from GRAMOPHONE (Tavener's The Protecting Veil with Steven Isserlis for Virgin; Faure's Piano Quintets with DOMUS for Hyperion); CLASSIC CD (Robert Simpson's 3rd and 5th symphonies with RPO/Handley for Hyperion); British Classical Industry Awards (Vaughan Williams's 5th symphony with RLPO/Handley for EMI).

Reading and walking take the strain. For music, the 'real thing' (i.e.concerts) still seems to Keener as more relevant than performances captured on plastic. He's a vinyl junkie at heart. Handling the stuff is every bit as important as playing it - well almost.