Author: graham
Date: 2024-03-12 02:03
I heard Brymer live in orchestra a few times (in the same concert hall) live in a church doing the Mozart concerto, and live in a small hall doing the Weber Concertino and SaxoRhapsody (on alto sax) and live in a major London hall in Prelude Fugue and Riffs. A lot of what he did there comes over on his recordings, but I do think he could prioritise beauty of tone by holding back and allowing the engineers to compensate, so I think that aspect differed. Occasionally a recording more accurately reflects how he sometimes let it get out of control, such as in the last movement of his Kegelstatt recording.
I own, and often play on a mouthpiece which is known to have been used by Charles Draper and may have been used on his several recordings 1928-30. It is somewhat worn. The sound characteristics are very reminiscent of his recorded sound, though of course I can’t match his sound production abilities. But it’s clear enough that the recordings capture what he was doing.
I heard Acker Bill live in a small hall about 6 months before he died. Of course, all the players were miked as is now expected. I was astonished by how much better he sounded than his 60s/70s records, although there were similar characteristics, despite the great difference in quality. It made me wonder whether he had deliberately downgraded his sound in the recordings. He was also a very amusing compère.
graham
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The Clarinet BBoard
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