M. M. Gravelot
Iconologie par Figures
Paris, Le Pan 1791

about concert activities

«Andrea Massimo Grassi has shown a brilliant mastery of the instrument and knows how to shape each sound in terms of the musical expression, with the natural fluency … a rare and precious gift … We would love to listen to this instrumentalist playing the famous Clarinet Concert by Mozart» (Giornale di Brescia)

«… It’s worth considering the performance of clarinettist Andrea Massimo Grassi, a genuine driving force in addition to his role as soloist» (La Voce di Mantova)

«The sound of clarinet changed my view of music» (Art of listening, Minnesota State University)

«… we have appreciated Andrea Massimo Grassi’s tonal refinement and his technical versatility, allowing him to mould the sound without any force or excess. A successful blend of expression and tone …» (L’Arena)

«The clarinetist, in stage costume, lets himself be swallowed by the sound of his instrument, concentrated emotion flowing throughout his body. The honesty with which he admits to loving the Trio op. 114 is written on his face ... in the presence of such music that rings clear and true, everything is put into perspective» (Avvenire) 

«… you can feel Gruppo Amarilli’s depht, its energy and feeling, perfectly expressed with a juvenile, almost dream-like momentum, a total osmosis among three musicians engaged in a bright experience … thanks to Gruppo da Camera Amarilli, the Brahms Trio becomes an opus full of events» (Paris Normandie) 

«You can grasp conscience and clarity … Masterpieces of chamber music performed by the five with great voice ... with excellent harmony regarding intent and goals» (L’Adige)

«They have been able to find that wonderful balance that only exists in an expert and close group. In addition to virtuosity and instrumental technical, we must emphasised the great interpretational insight applied to such prominent authors as Mozart and Brahms» (Giornale di Brescia)


about pubblications

 «Andrea Massimo Grassi provides a particularly significant contribution ... Considering that the book achieves the goal of showing and reconciling the relationship and the differences between ‘inspiration’ and ‘work’ related to composition, it can also, more generally, contribute to the understanding of Johannes Brahms’ entire work» (Michael Struck)

 «As a musicologist and clarinet concert performer, Andrea Massimo Grassi has focussed for more than a decade his artistic and scientific interests on the works for clarinet by Johannes Brahms ... the book is also recommended as a clear introduction to the problems of textual criticism» (il giornale della musica)

 «Through Fräulein Klarinette, Andrea Massimo Grassi takes us suggesting a curiously harmonious brahmsian period, because the compositions for clarinet have a whole series of truly fascinating similarities, that nobody, before this book, had ever realized» (Angelo Foletto)

 «Andrea Massimo Grassi is a true scholar. His finely crafted words and ability to communicate with crystal clarity ace a testimony to his obvious respect for the process of learning and the acquisition of knowledge» (The Clarinet, USA)

 «The skill of Andrea Massimo Grassi lies in introducing us in a fascinating way to ... an enlightening text full of endless discoveries, which allows us to achieve an ever increasing accurate knowledge of music’s history in the late nineteenth century» (Cadenze)

 «Andrea Massimo Grassi, the author of this valuable and commendable edition, has carefully and scrupulously compared the sources, digging out the smallest detail to offer the most reliable Brahms’ version of this great masterpiece of chamber music: so let’s recognize this great achievement» (I fiati)

 «… what results is the latest critical thinking by a Brahms specialist in one of our greatest repertoire pieces» (The Clarinet, USA)

 «Give yourself a treat and take this wonderful score by Brahms, published by Henle, with the usual precision of his Urtext» (Suonare News)


  • The Clarinet (USA), XXXVI/3 2009 
  • Il giornale della musica, gennaio 2009
  • Cadenze, XI/2007
  • Musica e Scuola, 2007
  • presentazione di Angelo Foletto, Milano, Villa Belgiojoso Bonaparte, 2007
  • Suonare News, LIV aprile 2007
  • Johannes-Brahms-Gesellschaft. Nachrichten und Wissenswertes I/2007
  • Musica, CVXIX, settembre 2004
  • Music Teacher Magazine (Australia), VIII/6 2001
  • The Clarinet (USA), XXVIII/4 2001
  • Sheet Music, Autumn 2000
  • Eco di Bergamo, 28 marzo 2001
  • Suonare News, febbraio 2001
  • The American Brahms Society Newsletter, XVIII/2 2000
  • I Fiati, maggio-giugno 2000, n. 35 anno VI
  • La voce di Mantova, 28 febbraio 1999
  • Il Giorno, 27 febbraio 1999
  • La Sicilia, 30 marzo 1997
  • Giornale di Brescia, 2 febbraio 1997
  • L’Arena, 9 giugno 1996
  • InfoStampa, anno II/1, gennaio-febbraio 1996
  • Diario de Noticias (Portogallo), 25 settembre1995
  • L’Adige, 20 agosto 1995
  • Corriere di Novara, 20 luglio 1995
  • Corriere della Sera, 21 aprile 1994
  • Bergamo Oggi, 2 dicembre 1993
  • Eco di Bergamo, 30 novembre 1993
  • Avvenire, 3 marzo 1993
  • Paris-Normandie (Francia), 13 luglio1992
  • Paris-Normandie (Francia), 11 luglio 1992
  • Corriere della Sera, 3 giugno 1992
  • Gazzetta del Sud, 10 maggio 1985
  • Cronache musicali, anno XI/34, marzo 1985
  • La Sicilia, 22 dicembre 1984
  • La Sicilia, 21 dicembre 1984
  • Espresso Sera, 20 dicembre 1984
  • La Sicilia, 20 dicembre 1984
  • Cronache musicali, anno X/32, ottobre 1984
  • Espresso Sera, 10 ottobre 1984
  • La Sicilia, 13 giugno 1984


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