Chopin and Scriabin: Preludes
The legendary pianist, Mikhail Pletnev, proudly presents his first Deutsche Grammophon recording in decades: Chopin and Scriabin: Préludes. The renditions captured reflect a master’s perspective on two masterpieces of the piano repertoire. In a historic milestone for DG, the engineering team captured the performances on a pure analog vinyl format (AAA), the first time since the 1980s that this has been done for a frontline release. The analog version was recorded on a Studer tape machine with two custom-made Sennheiser microphones, while at the same time an 11-channel microphone setup was used for the digital CD version. The tape was cut and pasted with the virtuosity of earlier sound engineering, so to speak “by ear” at the Emil Berliner Studios, while the same cuts had to be made visually on the computer.
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Chopin and Scriabin: Preludes
The legendary pianist, Mikhail Pletnev, proudly presents his first Deutsche Grammophon recording in decades: Chopin and Scriabin: Préludes. The renditions captured reflect a master’s perspective on two masterpieces of the piano repertoire. In a historic milestone for DG, the engineering team captured the performances on a pure analog vinyl format (AAA), the first time since the 1980s that this has been done for a frontline release. The analog version was recorded on a Studer tape machine with two custom-made Sennheiser microphones, while at the same time an 11-channel microphone setup was used for the digital CD version. The tape was cut and pasted with the virtuosity of earlier sound engineering, so to speak “by ear” at the Emil Berliner Studios, while the same cuts had to be made visually on the computer.
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The legendary pianist, Mikhail Pletnev, proudly presents his first Deutsche Grammophon recording in decades: Chopin and Scriabin: Préludes. The renditions captured reflect a master’s perspective on two masterpieces of the piano repertoire. In a historic milestone for DG, the engineering team captured the performances on a pure analog vinyl format (AAA), the first time since the 1980s that this has been done for a frontline release. The analog version was recorded on a Studer tape machine with two custom-made Sennheiser microphones, while at the same time an 11-channel microphone setup was used for the digital CD version. The tape was cut and pasted with the virtuosity of earlier sound engineering, so to speak “by ear” at the Emil Berliner Studios, while the same cuts had to be made visually on the computer.
