A lively and highly informative contribution to a distinguished series, which covers timpani, general percussion instruments, keyboard percussion, stands and accessories, as well as the percussion section within the orchestra, and the use of percussion instruments in chamber music and as a solo instrument. An immensely comprehensive central section, which is copiously illustrated, lists, describes and discusses the uses of dozens of instruments from Anvils to Waterphones. The sheer wealth of useful information it contains will be of value to the experienced musician as well as the general reader. James Holland is not afraid to attack composers, conductors and music publishers as he puts the percussionist’s point of view. Among his comments on how to interpret a percussion score and lay out and play a vast array of complex instruments are detailed analyses of Walton’s Façade and works by Gerhard and Stockhausen.

This book provides comprehensive, albeit not exhaustive, coverage on the percussion section, including both tuned and untuned, with diagrams as well as descriptions of a large range of instruments, arranged alphabetically. It also discusses the evolving role of the section and the practicalities of writing and typesetting parts for percussion. As a composer writing seriously for percussion for the first time, I found this book extremely helpful.
Dr Sasha Millwood

James Holland was born in London and studied at Trinity College of Music. After National Service in the RAF Central Band he joined the London Symphony Orchestra from 1962 until 1971 as principal percussionist before moving to the same position with the BBC Symphony Orchestra. In addition, he was also percussionist with the London Sinfonietta for many years and has worked with such eminent composers as Karlheinz Stockhausen, Pierre Boulez, Oliver Knussen, Krysztof Penderecki and Hans Werner Henze to name just a few. His extensive recording library includes Messaien: Des Canyons aux Etoiles, Shostakovich: Piano Concerto No. 2 and Bartok: Concerto No. 3, Le Boeuf Sur Le Toit with the LSO, Eine Art Chansons by Friedrich Cerha and Bartok: Music for Strings, Percussion and Celesta with the Academy of St. Martin in the Fields.