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Member since:22.10.2003
Reviews:69
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If you play the clarinet and interested in finding out a little more about it than the fact that it’s black, about 2 feet long with a single reed, try Jack Brymer’s “Clarinet” from the Yehudi Menuhin Series. If you don’t play the clarinet, may I ask why not?! You can pick one up quite cheaply and they are as easy to learn in the early stages as the recorder, but sound a lot cooler-go on- I dare you! Once you’ve mastered the basics this book will serve as a valuable friend and teacher through the more taxing grades. I picked it up at about grade 5, and still pick it up for advice today, with a music degree under my belt. If you’re vaguely serious about the instrument, it’s worth the mere £9.95 it will put you out of pocket.
A word on the author- Jack Brymer was clarinet king. His recordings of the Mozart clarinet concerto and quintet will be digitally re-mastered for many years to come. He was largely self-taught and an inspiration to clarinet players everywhere. Sadly he passed away earlier this year, but he was prolific enough in his recordings for you to be able to listen to his clarinet playing for years to come. He was passionate about single reed instruments, (clarinets and saxes), and encouraged promotion of the instruments; he was president of the Clarinet and Saxophone Society of GB until his death. (see www.cass.co.uk for more info). Jack could do everything on a clarinet, and it’s because he was such a down to earth bloke that this book is even more valid for your average Joe Bloggs clarinet player- he makes you believe you can do things you thought were totally beyond you without a very expensive teacher. Not so. Anyway, I’m sure if you’re still reading this review you already play and probably know all about this fellow already, so I’ll get on to the book…
By the way, if you’re still with me but a non-player, I’m impressed!
So, the book is divided into 6 main sections, dealing with the modern clarinet, its history, how it’s built, artistic tips and advice for teachers. The first section is unsurprisingly short, given the youth of instrument. Jack gives us a few hard facts about the measurements, materials and appearance of the black beast, describing its main characteristics. Perhaps a superfluous chapter, given that most readers will know this much, if nothing else! But we’ll let him off, because it’s often hard to write an introduction.
If you are interested in improving your tone, your tuning, your breathing, or saving money by fixing a few faulty pads or springs yourself, the next three sections are full of marvellous gems of clarinet wisdom. If you can do/pay for someone else to do that, you may be interested in sounding better- what makes a French clarinettist different from a German one, or even an American one? There is a chapter for “beginners only” and another for “the perfect legato”, really something for everyone (unless you don’t play at all- are you still here?!).
The section on teaching is obviously of limited interested if you’re still a learner yourself- read it anyway- it’s always good to be one step ahead of your teacher. And if yours has missed a vital bit, “the multi-instrumentalist” for example, you can catch up here.
The appendix includes a fantastic, if incomplete, repertoire list. Jack gives his own opinions on most of the well known and some of the lesser-known concert pieces. If virtuoso Jack says “The second of the two movements is difficult and requires a clarinet in the peak of mechanical condition” (Bax’s Sonata), you know you ought to steer clear.
The first edition of this book came out nearly 30 years ago, and its style is somewhat tinged with nostalgia, but for me that just adds to its charm. Virtually everything in it is still valid- may be someone should take it upon him/herself to update the repertoire list!
Published by Kahn and Averill, London, ISBN 1-871082-12-9
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The cover picture makes it look like a holiday flamenco souvenir, but in fact Quarenta ... more
Horas ("40 hours") refers to the lavish three-day ceremony held once a month in honour of the Blessed Sacrament at the Spanish royal court from the middle of the 17th century onwards. This album presents some of music for voices and instruments which would have been heard at this ceremony in its afternoon "siesta" periods of contemplation during the first half of the 18th century, but do not be led by that into thinking that these pieces are in any way sombre or staid. All are unashamedly boisterous in fact, and, despite the fact that Spain was in many ways relatively backward at that time, remarkably modern (which is to say Italianate) in style. The texts are somewhat impenetrable meditations on matters related to the sacrament, but you would never guess it from the music, which is full of life, bounce, rhythmic verve and joy. One piece by Literes is borrowed directly from the theatre, while San Juan's Xacara de reyes is unrestrained knockabout, showing a grumpy old man harumphing his complaints at how the world has gone to the dogs, to the accompaniment of fiercely strummed guitars. The performances are all energy and drive, leaving us with a fascinating and surprising glimpse at a little-known corner of the baroque. --Lindsay Kemp
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