By Michael Wersin
Wie orientiert guy sich unter Dutzenden von Aufnahmen einer Mozartsinfonie? Am besten mit Michael Wersins "CD-Führer Klassik". Erneut grundlegend überarbeitet und aktualisiert, ist er ein verlässlicher, wenn nicht gar notwendiger Begleiter, zudem eine große Hilfe für den Aufbau einer intestine sortierten CD-Sammlung: Über a hundred and forty herausragende Kompositionen aller Gattungen, vom Mittelalter bis zur Gegenwart, werden analysiert und musikhistorisch eingeordnet, anschließend besonders gelungene Einspielungen charakterisiert und zahlreiche Interpreten sowie ihre künstlerischen Leistungen beschrieben. Die Nennung der jeweiligen Labels und der Bestellnummer erleichtert die Beschaffung der besprochenen CDs.
Read Online or Download CD-Führer Klassik (3rd Edition) (Reclam Sachbuch) PDF
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Additional resources for CD-Führer Klassik (3rd Edition) (Reclam Sachbuch)
Archtop woods & design Archtop and ﬂat-top acoustic guitars do share some constructional techniques and material components, but they are really very diﬀerent instruments. The thing they have most in common is their fretted neck, and even those are angled very diﬀerently. The top (soundboard) of a quality archtop acoustic is laboriously hand-carved into its arched shape, usually out of solid spruce, but cedar, redwood, and other light but strong woods are sometimes used. This requires not only the skill to undertake the carving itself, but the ability to “tap tune” the top, a technique that involves literally tapping the wood with a knuckle as you carve it into an arch, in an eﬀort to elicit a tone and resonance that will complement the ﬁnal instrument.
Pairing a maple neck with a rosewood ﬁngerboard serves to warm and sweeten its tonal characteristics somewhat, while adding some roundness to the lows and a smooth depth to the highs. Mahogany The other most popular neck wood is a little softer and lighter than maple – though still very strong – and is never used for ﬁngerboards, other than in some very cheap beginner’s instruments of years past. The tonal contribution of a mahogany neck is heard in its warmth, balance and midrange presence. Although as mahogany necks are frequently paired with mahogany bodies, the sonic presence of this lesser plank of timber is likely to be buried within the bigger picture.
The Duo Jet and its siblings also have glued-in necks, but retain more archtoplike elements in their ﬂoating bridges and trapeze tailpieces. The combination of these ingredients, alongside the singlecoil pickups they debuted with, produced a twangy, snappy tone that nevertheless had plenty of girth to it. Very diﬀerent from either the Fender or Gibson oﬀerings of the day, the Duo Jet presented another classic sound of rock’n’roll, and they’ve been played by everyone from Bo Diddley, to Gene Vincent’s guitarist Cliﬀ Gallup, to LA’s punkabilly grinder Billy Zoom (of the band X).