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Recording the Classical Guitar charts the evolution of classical guitar recording practice from the early twentieth century to the present day, encompassing the careers of many of the instrument’s most influential practitioners from acoustic era to the advent of the CD. A key focus is on the ways in which guitarists’ recorded repertoire programmes have shaped the identity of the instrument, particularly where national allegiances and musical aesthetics are concerned. The book also considers the ways in which changing approaches to recording practice have conditioned guitarists’ conceptions of the instrument’s ideal representation in recorded form and situates these in relation to the development of classical music recording aesthetics more generally. An important addition to the growing body of literature in the field of phonomusicology, the book will be of interest to guitarists and producers as well as students of record production and historians of classical music recording.

Recording the Classical Guitar charts the evolution of classical guitar recording practice from the early twentieth century to the present day, encompassing the careers of many of the instrument’s most influential practitioners from acoustic era to the advent of the CD. A key focus is on the ways in which guitarists’ recorded repertoire programmes have shaped the identity of the instrument, particularly where national allegiances and musical aesthetics are concerned. The book also considers the ways in which changing approaches to recording practice have conditioned guitarists’ conceptions of the instrument’s ideal representation in recorded form and situates these in relation to the development of classical music recording aesthetics more generally. An important addition to the growing body of literature in the field of phonomusicology, the book will be of interest to guitarists and producers as well as students of record production and historians of classical music recording.

This is the English translation of the German best-selling Klangwunder: wie die Kraft der Musik mich geheilt hat.Albrecht Mayer has been principal oboist of the Berlin Philharmonic Orchestra since 2002 and enjoys a prolific solo career, and is believed by many to be the greatest oboist in the world.In his autobiography (co-authored with Heidi Friedrich) Albrecht Mayer describes his journey from an insecure child to the pinnacle of the music world. His life gains a new direction when his authoritarian father gives him an oboe at the age of ten with the edict that he learn to play it. He gives a very personal account of the obstacles he faced and the people who helped him along the way, and of performing with the most famous musicians in the world's greatest concert halls. But despite all his success, he has never forgotten the stigma of stuttering and the happiness of having found his true place in the world despite his impairment.This is the deeply moving autobiography of a man who has experienced the healing power of music and today embodies it with great charisma. It is a testament to the healing power of music and the endurance of the human spirit. Written in an eminently readable style this is an honest book about 'an ordinary human being' who has reached the pinnacle of musical success but is very grounded in reality and who cherishes his family above all else.