Press Excerpts

"Julia and Andrea along with cellist Karen Ouzounian deliver a heartrending account of Elegy. It's all the more affecting for the rich string tone captured by audio wizard Adam Abeshouse in all three works. 

The recordings were made on a couple of occasions. Namely, Sun was done back in 2011, while the others date from last year. However, all took place at the American Academy of Arts and Letters in New York City, which seems to be an ideal chamber venue. With Abeshouse at the controls, they project a consistently lifelike image across a generous soundstage in optimal surroundings. 

The instrumental balance is perfectly maintained throughout, and the piano, which presents a problem for many sound engineers, convincingly captured. There's just the right amount of percussive bite with no hint of that annoying, upper end digital grain so frequently associated with this instrument. In short, here's one for contemporary chamber music enthusiasts as well as any audiophiles among them."

—Classical Last & Found

“One of the things Ohlsson values most about his association with Arabesque is his working relationships with Adam Abeshouse -- winner of a "Producer of the Year" Grammy Award in 2000, nominated again in 2003. 'A producer is part musician, part editor, and part psychologist,' noted Ohlsson, 'and Adam's genius is that he's so good at all of it. He knows how to manage and balance all the aspects of a recording session so that we get the best results from it. He knows what I'm looking for, and I trust him to give me the best options of the takes we've done.'”


“Arabesque's sonics, engineered by the reliably superlative Adam Abeshouse, are detailed, immediate, and strong.”

— American Record Guide

“First a word of praise for the recording, magnificently engineered by Adam Abeshouse. Not only are both instruments captured with tangible fidelity (it feels as though you could reach out and touch the artists), they are accorded such presence and weight that the illusion is created of them actually playing in your listening room.”

— Julian Haylock, BBC Music Magazine

“The Budapest's Beethoven was fresh, scrubbed, shining bright as new and in this set of their Library of Congress recordings we have a chronological history of an extraordinary ensemble. We also have something of a technical triumph. I do not know how Bridge's engineers managed to make masters over fifty years old, some of them probably acetate discs, sound so fine. But they have, and the result is an irreplaceable collection.”

— Gramophone

“With engineering as beguiling as the performances themselves, this is an outstanding release.”

— Julian Haylock, The Strad

“Produced, engineered and edited by Adam Abeshouse at the Meyerson Symphony Center in Dallas, the sonics are truly award class. Unless the selection committee all fall asleep at the switch, the sound recording, at least, should be up for a Grammy.”

— New Classik Reviews

“A Bridge Records regular, audio wizard Adam Abeshouse mastered this release giving them another demonstration quality disc. The recordings of the first three chamber works were made at Princeton University's Taplin Auditorium. Presumably done on different occasions, they project a consistent generous soundstage in an accommodating chamber venue.“

—  Bob McQuiston, Classical Last & Found

“Producer and engineer Adam Abeshouse has captured the kaleidoscopic colors of Robison's flute, and the corresponding rich varieties of tone from the Charleston orchestra, on this evidence an excellent band with a fine conductor. Strongly recommended.”

— Robert McColley, Fanfare

“This richly textured, spacious recording offers technology's best shot at capturing Mr. Ohlsson's subtle art and the lustrous sound of his Bosendorfer . . . the often surprising dynamic range of the music itself is there to be savored – and to measure your sound system.”

— Lawrence B. Johnson, The New York Times

“The bywords here are subtlety and drama - both very important adjuncts to Beethoven's sound world. I have seldom heard such attention paid to follow - through of dynamics, general balance between instruments, and a willingness to pile on the volume come what may - or to whisper when it is called for.”

— D. Moore, American Record Guide

“Ms. Dinnerstein recorded the set 11-13 March 2005 at the American Academy of Arts and Letters, New York. She plays a restored 1903 Hamburg Steinway rather brilliantly inscribed for Telarc by engineer Adam Abeshouse.”

— Gary Lemco, Audiophile Audition

“Loving performances and spectacular sound engineered by the illustrious Adam Abeshouse (audiophiles take note) should qualify this release for some kind of 2007 music award. Don't pass it up!”

— Bob McQuiston, Classical Lost and Found

“What [Adam Abeshouse] and his colleagues have accomplished is extraordinary and surely will become an important addition to the best of the world treasury of great recordings.”

— King Durkee, Copley News Service

“The recordings are more than thirty years old but the technical work of Adam Abeshouse is outstanding. He presents the original stereo sound without noticeable his and yet to my ears has not compromised the robustly natural audio image.”

— Rob Barnett, Music Web International

“The first thing that strikes one while listening to this recording is the depth of sound achieved by recording engineer Adam Abeshouse. While some of this must be credited to the Mason & Hamlin piano and to the Recital Hall at SUNY Purchase, all would be for naught were it not for the work of the engineer, who often remains a true 'unsung hero.'”

— Becker, American Record Guide