Jose Maria Santandreu
With a network of Artist Centres and Ateliers around the world, Yamaha works with leading players to support their performances and develop instrument designs and new ideas for the benefit of all musicians. Yamaha Artists share with us a passion for inspiring the next generation of players, and a belief that everybody should be encouraged to nurture their talent, connect with others and tell their stories through music.
Get to know Yamaha Artist and clarinet player Jose Maria Santandreu
How does your instrument improve your daily life as a musician?
Above all, security, since the instrument offers me the reliability and quality in my daily study and preparation, that is, the security/confidence that I look for in concerts, to be able to enjoy on stage, and that the public also enjoys the music. I can study any type of repertoire, from contemporary to more classical, for orchestra or solo repertoire. The variety of colors and mechanical response offer me the possibility to study any repertoire without any problem or impediment.
How would you characterise your instrument?
I would highlight its versatility, reliability and safety: the mechanics, sound and tuning of my pair of Yamaha CSGIIIL clarinets are exceptional, they are part of the very idiosyncrasy of the model. These characteristics are what give me the confidence and peace of mind to be able to play with any formation and in any type of setting, both indoors and outdoors, thanks also to its dynamic range and sound projection. The CSGIIIL model is pure expression and interpretive freedom.
When and how did you first come into contact with Yamaha?
At the beginning of 2007, I was already playing with Yamaha clarinets, and I was delighted with their quality and versatility, since I was preparing classical/romantic and contemporary music concerts. The performance they gave me was far superior to other clarinets, and I could enjoy all their advantages, that is, their tuning, mechanics, and above all, their characteristic sound, which was the sound I was looking for.
In addition, I was lucky enough to record three CDs of different styles in 2011, 2014 and 2016, and perform on TV, with orchestras, soloist or chamber groups, until today, and I have always been able to maintain the sound, helped by the mechanics, flexibility and tuning, that is, its versatility and quality.
Who was your most influential teacher and is there any advice which you still follow?
Since my beginnings, I have learned from all the teachers, but my first memory is centered on my first teacher, a person who was not a professional, but his passion and wisdom solved any lack, because he loved music. Subsequently, I have coincided with different teachers, but I have always tried to look for a teacher who could bring me new concepts or extensions, as with Miguel Angel Tamarit. I have also learned from the advice of Karl Leister or Wenzel Fuchs (with whom I was able to interpret the concerto for two clarinets by F. Krommer op. 35), although the one who has influenced me the most has been Reinhard Wieser since I met him in 2001 and in the following years that I have been with him in advanced courses until 2009.
Advice for a young musician:
I don't usually give advice, -I like to share opinions-, but what I would say is that they should love music, enjoy it and don't forget to respect others. That they have a good instrument, good technique and a great musicality so that they always enjoy.....
