Swipe

Waterloo Records

When the red light in Studio 2 at the famous Abbey Road Studios came on at the start of the recording sessions for Leonard Elschenbroich and Alexei Grynyuk's latest ONYX recording, the control room had a very different atmosphere. The recording was made using analogue technology - tape recorders, vintage microphones, and longer takes. At no point was the recorded material subjected to a digital process. Elschenbroich wanted to capture a specific sound for these sonatas; the recorded sound of the late 1950s and the 1960s was his goal. The result is a wonderfully intimate, warm yet clear sound, as if the musicians are actually in the room with the listener - not clinical, not a bright superficially impressive digital sound, but a sound that captures perfectly the best recorded sound of the golden years of the LP. Importantly, it is the sound by which the artist 'recognises' himself. As Elschenbroich writes in the notes 'the listener only needs one pair of ears and the music must come to life in their unique space".
When the red light in Studio 2 at the famous Abbey Road Studios came on at the start of the recording sessions for Leonard Elschenbroich and Alexei Grynyuk's latest ONYX recording, the control room had a very different atmosphere. The recording was made using analogue technology - tape recorders, vintage microphones, and longer takes. At no point was the recorded material subjected to a digital process. Elschenbroich wanted to capture a specific sound for these sonatas; the recorded sound of the late 1950s and the 1960s was his goal. The result is a wonderfully intimate, warm yet clear sound, as if the musicians are actually in the room with the listener - not clinical, not a bright superficially impressive digital sound, but a sound that captures perfectly the best recorded sound of the golden years of the LP. Importantly, it is the sound by which the artist 'recognises' himself. As Elschenbroich writes in the notes 'the listener only needs one pair of ears and the music must come to life in their unique space".
880040425021
Brahms Analogue
Artist: Leonard Elschenbroich
Format: Vinyl
New: Available $29.98
Wish

Formats and Editions

DISC: 1

1. Brahms: Cello Sonata No.1 in Emin Op.38 - I Allegro Non Troppo
2. Brahms: Cello Sonata No.1 in Emin Op.38 - II Allegreeto Quasi Menuetto
3. Brahms: Cello Sonata No.1 in Emin Op.38 - III Allegro
4. Brahms: Cello Sonata No.2 in Fmaj Op.99 - I Allegro Vivace
5. Brahms: Cello Sonata No.2 in Fmaj Op.99 - II Adagio Affetuoso
6. Brahms: Cello Sonata No.2 in Fmaj Op.99 - III Allegro Passionato
7. Brahms: Cello Sonata No.2 in Fmaj Op.99 - IV Allegro Molto
8. Brahms: 4 Ernste Gesange - I Denn Es Gehet
9. Brahms: 4 Ernste Gesange - II Ich Wandte Mich
10. Brahms: 4 Ernste Gesange - III O Tod
11. Brahms: 4 Ernste Gesange - IV Wenn Ich Mitmenschen

More Info:

When the red light in Studio 2 at the famous Abbey Road Studios came on at the start of the recording sessions for Leonard Elschenbroich and Alexei Grynyuk's latest ONYX recording, the control room had a very different atmosphere. The recording was made using analogue technology - tape recorders, vintage microphones, and longer takes. At no point was the recorded material subjected to a digital process. Elschenbroich wanted to capture a specific sound for these sonatas; the recorded sound of the late 1950s and the 1960s was his goal. The result is a wonderfully intimate, warm yet clear sound, as if the musicians are actually in the room with the listener - not clinical, not a bright superficially impressive digital sound, but a sound that captures perfectly the best recorded sound of the golden years of the LP. Importantly, it is the sound by which the artist 'recognises' himself. As Elschenbroich writes in the notes 'the listener only needs one pair of ears and the music must come to life in their unique space".
back to top