Grammy Award for Best Engineered Album, Classical

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The Grammy Award for Best Engineered Recording, Classical has been awarded since 1959. The award had several minor name changes:

  • In 1959 the award was known as Best Engineered Record (Classical)
  • From 1960 to 1962 it was awarded as Best Engineering Contribution - Classical Recording
  • From 1963 to 1964 it was awarded as Best Engineered Recording - Classical
  • In 1965 it was awarded as Best Engineered Recording
  • From 1966 to 1994 it returned to the title Best Engineered Recording, Classical
  • From 1966 to 1994 it was awarded as Best Classical Engineered Recording
  • Since 1992 it has been awarded as Best Engineered Album, Classical
Grammy Award for Best Engineered Album, Classical
Awarded forquality classical music engineering
CountryUnited States
Presented byNational Academy of Recording Arts and Sciences
First awarded1959
Currently held byLeslie Ann Jones & Robert C. Ludwig, Riley: Sun Rings (2020)

This award is presented alongside the Grammy Award for Best Engineered Album, Non-Classical. From 1960 to 1965 a further award was presented for Best Engineered Recording - Special or Novel Effects.

Years reflect the year in which the Grammy Awards were presented, for works released in the previous year.

The award is presented to engineers (and, if applicable, mastering engineers), not to artists, orchestras, conductors or other performers on the winning works, except if the engineer is also a performer.






  • Nominees:
    • Mark Donahue (engineer and mastering engineer) & Dirk Sobotka (engineer) for Bates: The (R)evolution of Steve Jobs, performed by the Santa Fe Opera Orchestra and various soloists
    • Mark Donahue (engineer and mastering engineer) for Beethoven: Symphony No. 3/Strauss: Horn Concerto No. 1, performed by the Pittsburgh Symphony Orchestra conducted by Manfred Honeck
    • Keith O. Johnson (engineer and mastering engineer) & Sean Royce Martin (engineer) for John Williams At The Movies, performed by The Dallas Winds conducted by Jerry Junkin
    • Bill Maylone (engineer and mastering engineer) & Mary Mazurek (engineer) for Liquid Melancholy - Clarinet Music of James M. Stephenson, performed by John Bruce Yeh
    • Tom Caulfield (engineer) & Jesse Lewis (mastering engineer) for Visions and Variations, performed by A Far Cry


  • Nominees


  • Mark Donahue, David L. Williams & Fred Vogler (engineers) for Corigliano: The Ghost of Versailles, performed by the Los Angeles Opera Orchestra & Chorus and various soloists


  • 2016
    • Leslie Ann Jones, John Kilgore, Nora Kroll-Rosenbaum & Justin Merrill (engineers); Patricia Sullivan (mastering engineer) for Ask Your Mama, performed by San Francisco Ballet Orchestra & George Manahan


  • Dmitry Lipay (engineer); Alexander Lipay (mastering engineer) for Dutilleux: Métaboles; L'Arbre Des Songes; Symphony No. 2, 'Le Double' , performed by the Seattle Sympnony, Ludovic Morlot & Augustin Hadelich
  • Robert Friedrich (engineer); Michael Bishop (mastering engineer) for Monteverdi: Il Ritorno d'Ulisse in Patria, performed by Martin Pearlman, Jennifer Rivera, Fernando Guimarães & Boston Baroque
  • Byeong Joon Hwang & John Newton (engineers); Mark Donahue (mastering engineer) for Rachmaninoff: All-Night Vigil, performed by Charles Bruffy, Phoenix Chorale & Kansas City Chorale
  • Keith O. Johnson & Sean Royce Martin (engineers); Keith O. Johnson (mastering engineer) for Saint-Saëns: Symphony No. 3, 'Organ' , performed by Kansas City Symphony & Michael Stern
  • Grammy Awards of 2015
    • Michael Bishop (engineer/mastering engineer) for Vaughan Williams: Dona Nobis Pacem; Symphony No. 4; The Lark Ascending performed by Robert Spano, Norman Mackenzie, Atlanta Symphony Orchestra & Chorus





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