Brindle was an important twentieth-century British composer, especially for the guitar, although he wrote for many other instruments, as well as orchestras and choirs. I’m fond of a number of his guitar works and have performed and recorded them. Except for his earliest works, he mostly wrote in a modern, serial-influenced style, having studied with composers such as Luigi Dallapiccola. brindle also taught music at the University College of North Wales and later at the University of Surrey. I met one of his former students once, now a succesful musician, and she said he was the best teacher she’s ever had.
When reading his autobiography, I was thrilled to discover that he played without nails:
‘From Naples on, wherever I went, I searched out guitarists, met some fine players, and learned many of the secrets of performance. Unfortunately, at that time, I had very weak fingernails, so I could never hope to achieve the power of Segovia. However, at that time there was a school of playing by plucking only with the tips of the fingers. Nails were quite unnecessary. The recordings of Emilio Pujol using this technique encouraged me, for they showed what a beautiful intimacy of tone could be produced. I decided to try to follow his example, for it revealed what a potent means of expression was possible.’1
Unfortunately, it would appear that Brindle didn’t quite manage to emulate Pujol’s tone!
‘The next morning, he wanted to hear us play. I had taken Gullino’s nine-string half-lyre Mozzani guitar, thinking this would make a good impression, but Segovia pretended to be horrified, and I had to hide it away. My own shortcomings were soon exposed, especially because, playing without finger-nails, my tone was thin, and the volume miserably small. Segovia roared with laughter. To him it was a huge joke, especially when one of my gut strings unravelled and broke in two.’2
He was better off as a composer, perhaps… He dedicated some of his early compositions to Pujol, including this charming prelude:
No-Nail Guitar 
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