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adrian brown

A Remarkable Young Anglo Player

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Very well played indeed.I would also add that the tune is notated in John Kirkpatrick book of tunes.I think he played it on piano and than aranged it for the Anglo.

So good to see a talented young player.

Bryan

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Amazing! Especially the last 30 seconds or so of his finale.

 

I had never heard of Cohen Braithwaite-Kilcoyne before and a bit of Googling reveals that he is also a very strong singer of traditional songs.

 

His web-site: http://cohenbk.com

 

And Youtube channel: https://www.youtube.com/channel/UCEPdjEK0_XZcW6snBu9nmhA

 

The future is in safe hands.

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I assume its so he can move the concertina around in space for its acoustic effects. Can't do that as well while your seated. This fellow is one amazing talent and his finale in the last few minutes is out of this world. If you close you eyes you'd swear that a concertina orchestra of a half-dozen instruments are playing.

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Wow. Scary good. Just shows what can be done with a 40+ button Anglo - John K would be proud! Would love to hear Cohen live sometime - really nice singing and playing on his YouTube channel.

 

Gary

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Yes, he's fantastic - I particularly loved the little fugue at 24:30 with the two parts so distinctly elaborated!

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Wow.

 

There is a livestream downloader for Chrome at:

 

https://chrome.google.com/webstore/detail/livestream-downloader/abcociiobbpehgklomfdghmbdmclbmgl?hl=en-US

 

if you would like to download this video.

 

Once it is installed in CHROME, click on the menubar icon and then

on videos. There you will find this young musicians name and can

download this video.

 

A keeper, indeed ...

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thank you Adrian (for the OP anyway) - so it's Pachelbel :)

 

I assume its so he can move the concertina around in space for its acoustic effects. Can't do that as well while your seated. This fellow is one amazing talent and his finale in the last few minutes is out of this world. If you close you eyes you'd swear that a concertina orchestra of a half-dozen instruments are playing.

 

notoriously one of the features of Alistair Anderson's playing the EC as well B)

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It's an amazing performance from the smallest details to the broadest effects, both virtuosic and musical. I also liked the homages to John Kirkpatrick and Tony Hall in the performance and the program notes. Thank you for posting this, Adrian. I wouldn't doubt that you've been an inspiration to him as well.

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It was my dear friend and fellow c.netter Wayman who told me about him a few months ago and sent me a few videos of a concert he'd given in Sheffield. So when Cohen turned up at one of our concerts last month, I recognised him immediately. We've had a nice exchange of correspondence since then and I find his playing truly inspirational.

Apart from his amazing musicality, I would single out his masterful control of dynamics - something I've struggled with for years, as well as the wonderful clarity he manages to give to the independent voices. However, most of all I am grateful that he's shined a light on the huge uncharted territory for the anglo that lies outside of our beloved ITM and Om-Pa styles. In the hands of Cohen's generation, we really need not fear for the future of our little instrument...

Adrian

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I also thought that the recording quality was first rate. AFAICT neither of his instruments were miked and he certainly moved around the stage, yet the sound stayed clear and true throughout.

 

How do they do that?

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I also thought that the recording quality was first rate. AFAICT neither of his instruments were miked and he certainly moved around the stage, yet the sound stayed clear and true throughout.

 

How do they do that?

 

Don, I have asked myself the same question, and still do - however, your observation re the lack of close miking seems to be approved soundwise, as recording the "Leslie" (phase-shifting) effect (particularly) at the very end requires (rather stereo) mics with a firm stand IMO.

 

Best wishes - Wolf

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recording the "Leslie" (phase-shifting) effect (particularly) at the very end requires (rather stereo) mics with a firm stand IMO.

 

Wolf

 

That is a good point. I suppose that miking a concertina would kill any attempt at dynamics by moving the instrument around? No Doppler effect when the sound source and the receiver are both moving at the same time.

 

I also recall reading somewhere that waving the concertina around while playing also (again because of Mr Doppler) causes small, but significant, changes in the overtones. A sufficient enough change so as to sweeten some of the harsher overtones produced by the reeds. Listening to Cohen's playing, especially the classical pieces, I find it hard to believe that I am not hearing a flute or a trumpet.

 

Don.

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