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Accordion of 21-st century

Richard Galliano - French touch

Walshe Essential Guide to Accordion and Harmonica Events

«Harmonica forever!»

Modest Mussorgsky «Pictures at an Exhibition»

«Skomorokhi»: Music of the 20'th Century

Richard Galliano - 15 Titres Originaux

Pietro Frosini - Mariposita (Bolero)

Eugeny Derbenko - Cabman

Melodies Which Are Always With You

Concert musette for accordion

Richard Galliano quartet «New Musette»

Astor Piazzolla - Soundtracks

Boris Kovac and Ladaaba Orchestra «Ballads at the End of Time», «La Danza Apocalypsa Balcanica»

Yury Kazakov «The portrait of the great Bayanist»

A Gotan Project DJ set Espiracion

Accordion in Jazz

Astor Piazzolla - Concerto para Quinteto

Accordion in concert - Part I

Accordion Reader Trilogy

L. Desyatnikov - Tracing Astor

Russian music of the 19 - 20-th centuries

Igor Tsvetkov - Two Pieces for Russian Folk Orchestra

Popular Latin American tunes for chromatic or piano accordion

Terem-Quartet meets friends

Richard Galliano - Viaggio

Richard Galliano & Michel Portal – Concerts

Valery Kovtun - «Tango»

Richard Galliano – New York Tango

Friedrich Lips - Pictures at an Exhibition

Astor Piazzolla - Fugata

Dmitry Manchuk & Miroslav Leliukh - Musical Fantasy

Art Van Damme - Deep Purple

Richard Galliano - Fou Rire

George Gershwin - Rhapsody in Blue (for piano and accordion orchestra)

Andrew Petrov - Marathon in the Fall

Luciano Fancelli - Acquarelli Cubani

Happy Skvett - Kulturprisen

M. Kazhlaev - Scerzo

Michael van Delft - Angel Rocks a Stone Away

Jacques Reuaux, Claude Francois - My Way - Great Frank Sinatra song arranged for accordion orchestra - Parts

Richard Galliano - Tango pour Claude

''Resurrecion'' tango-quartet - Obsessed by the Sun

Richard Galliano - La Valse a Margaux

Bogdan Precz - Fusion

Jazz Accordion Book - Vol. I

Jazz Theory And Improvisation Studies for Accordion

Che, bandoneon - 10 essential tango arrangements - Vol. 1

Astor Piazzolla - Tangus Dei

Richard Galliano - Opale Concerto - Score

Accordion orchestra of 3-d municipal music school (Kishinev, Moldova)

Lithuanian Accordion Quintet "Concertino" (video live concert)

Pablo Ziegler - Bajo Cero

Pavel Smirov Orchestra - Accordion virtuosos from St. Petersburg

Albin Repnikov - Concerto ¹3 for accordion, chamber orchestra and percussions - Score

Pavel Smirov Orchestra - My Saint Petersburg

M. Blanter - In The Gardens

Astor Piazzolla - Yo Soy Maria

Lithuanian Accordion Quintet «Concertino» - Compositions from the repertoire of the ensemble - Vol. 2

B. Martjanov - Moldova Fantasy

«Milonga» Instrumental Trio – Compositions from the repertoire of the ensemble - Vol. 2

«Milonga» Instrumental Trio – Compositions from the repertoire of the ensemble - Vol. 1

«Milonga» Instrumental Trio – Compositions from the repertoire of the ensemble - Vol. 3

Jacques Reuaux, Claude Francois - My Way - Great Frank Sinatra song arranged for accordion orchestra - Score

Anatoly Lyadov - Musical Snuffbox

Yu. Peshkov - Black Eyes - Russian romance arranged as a concert piece

Charlie Shavers - Breeze in a Waste

Christine Boll – Partita Piccola

Teddy Randazzo, Bobby Weinstein - Going Out of My Head - Great Frank Sinatra song arranged for accordion orchestra - Score and Parts

Victor Vlasov - Bossa Nova

Pietro Frosini - Carnival of Venice

Victor Vlasov - I Like this Rhythm

Thomas Fundora & Morris Albert - Feelings

Mikis Theodorakis - Quarter of Angels

George Hammel - Pantoufle de Vair (concert polka for accordion)

Volodymyr Zubytsky - Omaggio ad Astor Piazzolla

In the Footlights

The Beatles Potpourri

Jacob Gade - Tango Jalousie

Lasse Pihlajamaa - Harmonikkasävellyksiä

Eddy Flecijn – Capriccio

Pascual Marquina - Spanish Gipsy Dance

Popular Waltzes

Libertango tango hits

Moon Serenade

History of Musicals

Astor Piazzolla – 10 tangos

From Bach till Offenbach

Richard Rodgers and Lorenz Hart - Blue Moon

Beny Rehmann - Schiffsfeger-Polka

Francisco Canaro - Tango

Gerhard Winkler - Toulouse

Albert Vossen - Merry-go-round

Gerhard Winkler - Serenade Napolitano

Les Rid - The Last Waltz

Yann Tiersen - Le Moulin

Yann Tiersen - Naomi

Bert Kaempfert - Strangers in The Night

Luiz Bonfa - Manha de Carnival

Cajun of Luisiana State (for banjo and accordions)

George Boulanger - Da Capo

Eugene Derbenko - Rythm of Time

I. Panitski - Snowball Tree

A. Murena and J. Colombo - Indifference

Hubert Giraud - Sous le Ciel de Paris

Toto Cutugno - Soli

Fermo Marchetti - Fascination

Victor Vlasov - Boogie-Woogie

J McHugh - Black Birds (Black spiritual arranged for accordion)

S. Scott - Jungle

Tikhon Khrennikov - Moscow Windows (jazz song arranged for accordion duo)

Paul Norrback - Happy Moments

Charlie Chaplin - Limelight (waltz arranged for accordion)

Victor Vlasov - Silent Films

Victor Vlasov - Good Afternoon

Victor Vlasov - Cartoon

20 Tiny Fingers - English folk song

A. Joys - Autumn Dream

Jazz-Legato - Lerov Andersson (for accordion duo)

Vladimir Popolzin - In The Saloon

S. Scott - Ballade

Victor Vlasov – Jazz Miniatures

Victor Vlasov - Disco (from Jazz Miniatures Book)

Victor Vlasov - Let us Swing (from Jazz Miniatures Book)

Victor Vlasov - Siamese (from Jazz Miniatures Book)

Victor Vlasov - This Rythm (from Jazz Miniatures Book)

Victor Vlasov - Step (from Jazz Miniatures Book)

Unto Jutila - French Visit

Renzo Ruggieri - Carnevale

Jimmy Giordanengo - La Huette

Albert Vossen - Fliegende Blatter

Vittorio Monti - Czardas

Victor Vlasov - Mood (for solo accordion)

Victor Vlasov - Syncopes

Unto Jutila - Samba

Pietro Frosini - Jolly Caballero

Karl Noack - Parade of Dwarves (for ensemble or orchestra)

Valery Kovtun - Brilliant Waltz (for solo accordion)

Pintin Castellanos - La Punalada

Finish Polka

Anne Dudley - Jeeves and Wooster

Astor Piazzolla - Four Seasons in Buenos Aires - Score

Astor Piazzolla - Four Seasons in Buenos Aires - Parts

Luciano Fancelli - 10 km. al Finestrino

Luciano Fancelli - Pupazzetti

Georgy Mushel - Toccata

Albin Repnikov - Capriccio

Paolo Pizzigoni - Light and Shadow

Grigoras Dinicu - Hora Stacatto

Eduardo di Capua - O Sole Mio!

Ernesto Lecuona - Malaguena from «Andalucia» Suite

Andre Astier - Grande Valse De Concert

Andre Astier - Divertissement

Andre Astier - Fantaisie En Mi Mineur

Andre Astier, Marcel Azzola - Systeme «A»

Andre Astier, Maurice Larcange - Accordeon Steeple

Andre Astier, Yvette Horner - Polka Satellite

Volodymyr Zubytsky - Ti Amo, Pesaro

Joaquin Rodrigo - Concierto de Aranjuez, Adagio

Antonio Vivaldi - Concerto f-moll from The Four Seasons

Arnstein Johansen - Cornelli (polka)

Medard Ferrero - Averse

Polka Favorites

Latin Favorites

Joey Miskulin - Accordion Styles and Techniques (DVD)

Paris Musette - Freddy Balta and his Accordion

Teach Yourself To Play Accordion

Waltz Favorites

Metodo Per Fisarmonica (Accordion)

Latin American Dances

Richard Galliano - Opale Concerto - Parts

Vladimir Chernikov - Lonely Harmonica - Yablochko

Niccolo Paganini - Caprice No. 24 in A minor

Andrew Lloyd Webber - Memory

John A. Dallas - Helen Waltz

Maurice Larcange & Michel Mercier - Javaccordeon

Franck Angelis - Valse du Cloun

Franck Angelis - Impasse

Ole Schmidt - Toccata no. 1

Astor Piazzolla - Contrabajissimo - Score

Yann Tiersen - La Noyee

Jack Fina - Bumblebee Boogie

Vl. Zolotarev - Conteplating The Dionisian Frescoes of St. Ferapontov Monastery

Heitor Villa-Lobos - Dance of The White Indian

Filippo Marino - Cristina

Tony Murena & Louis Peguri - Joyeux Vagabond

Pietro Frosini - Spic and Span

Hans Brehme - Divertimento in F

Pietro Frosini - Accordion Jitters

Astor Piazzolla - Concerto Aconcagua for bandoneon, chamber orchestra and percussions - Score

Oscar Peterson - Laurentide Waltz (from The “Canadiana” suite)

Con Conrad & Herb Magidson - Midnight in Paris (bolero)

Samuel Barber - Adagio from String Quartet No. 1

Pietro Frosini - Love Smiles

Albin Repnikov - Concertino

Victor Vlasov - The Fest In Moldavanka

Art Van Damme - Boogie-Woogie

Albert Vossen - Brusseles Laces

Yann Tiersen - Les Quatre Pieces

Frank Marocco - Appassionato

Che, bandoneon - 10 essential tango arrangements - Vol. 2

Astor Piazzolla - Cite Tango

Astor Piazzolla - Meditango

Astor Piazzolla - Un dia de paz

Astor Piazzolla - Libertango

Astor Piazzolla - Tres Tangos

Astor Piazzolla - Ave Maria

Astor Piazzolla - Concierto de Nacar - Score

Astor Piazzolla - Tangata del Alba

Accordion in Concert - Part II

Astor Piazzolla - Double Concerto - Score

Argentinian Tango and Folk Tunes for Accordion: 36 Traditional Pieces

Jean Francaix - Concerto for accordion and orchestra

Isang Yun - Concertino for accordion and string quartet

Darius Milhaud - Suite Anglaise

Astor Piazzolla - Adios Nonino for accordion orchestra and piano

Klezmer and Sephardic Tunes

Astor Piazzolla - Concerto Aconcagua for bandoneon, chamber orchestra and percussions - Parts

Astor Piazzolla - Cuatro Estaciones Portenas - Score

Astor Piazzolla - Cuatro Estaciones Portenas - Parts

Carlos Gardel - Soledad y Volver - Score

Carlos Gardel - Soledad y Volver - Parts

Angel Villoldo - El Choclo

Mariano Mores - Tanguera

Julian Plaza - Nocturna

Hector Stamponi - Un Momento

Julio Pane - Un vals para Martita

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Murl Allen Sanders - Report on Caister 2005
Mar., 14, 2007

Report from Caister-On-Sea, by Murl Allen Sanders Accordion clubs are alive and well in Great Britain. One would say thriving. At least six accordion clubs were well-represented at Caister, England for the Accordions International Caister Festival November 2005. People came from Wales, Ireland, France and Norway to attend. There were also two 50 piece accordion orchestras, one from Stockport, England and one from Lille, France. Each orchestra played wonderful arrangements and stirred the audience to wild applause. The French orchestra got a well-deserved standing ovation. (People in England do not take their standing ovations lightly!)

The Caister festival was organized by a fine, enterprising and award-winning accordionist and entrepreneur named Heather Smith and a team of folks including Gary Blair, Bert Santilly, Brian Jenkins, Peter Whiteley, Johnny Coleclough and Adrienne Sharpe. Heather has produced numerous accordion festivals in England for the past ten years. It is a credit to Heather that the Caister festival is such a successful event. Her gracious personality and networking skills have garnered her larger attendance at each event she produces. Each night at Caister there was a featured concert artist, dance music, and other accordion ensembles of note. The festival drew a vibrant crowd of 400 to 500 people for each of the four days. Most stayed on campus at Haven Holidays, a summer vacation park on the East Coast of England on the North Sea.

The closest city is Norwich and the closest big community is Great Yarmouth. People came from all over England and Scotland to attend this event. The enthusiasm is palpable. The Caister festival is billed as “The Friendly Festival” and I certainly found that to be true. The welcoming atmosphere was pervasive. People were interested in all the performers and participants. I could not walk ten yards without having a conversation with someone about accordion-related things or just the lovely weather. It was cold in Caister, but we had beautiful blue skies most days. The sandy ocean beach was grand and had an unusual sight of a giant “wind farm” of colossal windmills(20 or more) about a half mile out to sea. Ships could sail beneath and in between the huge individual windmills.

The featured artists for 2005 Caister were Giancarlo Caporilli “The Italian Wizard”, Gary Blair, the best Scottish accordionist alive, Oivind Farmen, the superb Norwegian classical player, and myself. Each day there were workshops to attend and accordion ensembles to join. One could choose from “elementary orchestra”, “intermediate orchestra”, “Scottish orchestra”, “Vintage orchestra”(playing all vintage accordions and appropriately vintage turn-of-the-20th century music), “Jazz ensemble” or the “Buskers Band”. There was no shortage of players for each group and often 30 or more per group. I chose to play with the Scottish group directed by Gary Blair and learned a tremendous amount about the articulations and bellows technique of Scottish accordion music. Each group was featured in a short performance on the last afternoon of the festival.

Everyone in attendance turned out to hear the fruits of everyone’s labor and it was quite a remarkable concert. The evening concerts were held in a large nightclub hall with a good stage and sound system. There was seating at tables for over 500 people, a large dance floor and a bar serving drinks and sandwiches. This setting made for some lively concerts that always included an hour or more of dance music which inspired many dancers to fill the floor. Giancarlo Caporrilli is a Rome native with a huge repertoire, amazing musical memory and a superb technician on accordion show pieces. Although he spoke no English, he captivated the audience with a stunning display of accordion virtuousity. Oivind Farmen is a classical accordionist of the first order and a colleague and duet partner of Jorgen Sundquist. His concert program included works by Vivaldi, Handel, Bach, his own compositions and pieces written exclusively for him. Oivind is an engaging performer with a somewhat shy, boyish appearance who delivers a masterful performance of beautiful classical accordion music played on a specially made Bayan, the European all-button accordion. His bass system is different than the usual and I will not try to describe it here other than to say the bass buttons and the treble buttons are in the same order and configuration. Oivind’s description was much more entertaining and informative.

Gary Blair is the reigning master of Scottish accordion. Although Gary is a commanding concert performer, his role at this festival was to play music for Scottish “ceilidh” dancing (teaching the dances while simultaneously playing). I marvelled at his performances which inspired ecstatic dancing and much laughter. He makes his playing look so easy (NOT!!!) and rocks so hard with so much soul that I have come to describe him as “the Marvin Gaye of Scottish Accordion”.

So many fine accordionists were at Caister that I won’t try to name them all. Just a few: Rosemary Wright, Harry Hussey, Charlie Watkins, Bert Santilly and many others. I met so many lovely people at Caister and had such a good time at the festival as well as sightseeing in England that I hope to return. My wife, Jan, and my sister, Karen, accompanied me and we all felt welcomed and treated very well. We had a swell time! If you are wanting a trip to Great Britain, I highly recommend the Caister Festival.

Mauro Carra - Concert Review....
Mar., 14, 2007

Sue and I were lucky to get to see Mauro Carra at the Uxbridge Accordion club last monday 9th January. He was absolutely fantastic,in fact incredible and we were not surprised to learn that he practices for up to 5hours every day because it really shows. Anyone interested should check out his tour itinerary on UKAO and make every effort to seeing him, believe me it will be worth it.

Also as an enchore at the packed to capacity Uxbridge AC Romano Viazzani joined him for an incredible duet set of 3 pieces.

Please Please make every effort to see him!

Best Wishes to all at UKAO!
Ron and Sue Bennett

Essex Accordion , Organ & Guitar Centre
Mar., 14, 2007

3 CD's available from Jerry Mayes

and the Essex Accordion , Organ & Guitar Centre.

 

Musical Selections Volume I

Musical Selections Volume II

Piano Accordion Selection Volumes I & II

Each of the above CD recordings have been carefully prepared and compiled to include solos and popular selections to suit all tastes.

Olive Perry, with her beautiful soprano voice can be heard in the "Musical Selections" Volume II.

I sincerely trust the CD recordings will give much pleasure & guidance to students who wish to prepare & play some of the solos I have chosen to play.

Jerry Mayes

Please contact  for prices and P&P:-

Jerry Mayes  19, Colchester Road, Prittlewell, Essex

SS2 6HW

Tel: 01702 - 340909

Email: This email address is being protected from spam bots, you need Javascript enabled to view it "> This email address is being protected from spam bots, you need Javascript enabled to view it

Let’s Polka’s 1st Birthday Contest
Mar., 14, 2007
Can you believe it’s been a whole year since Let’s Polka first came kicking and squeezing into this world? It seems like just yesterday we were interviewing polkagreats, hanging out at Camp AccordionLand and the Cotati Accordion Festival, and being written up in the San Francisco Chronicle. We’ve seen squeezebox zombies, zydeco prodigies, accordion-toting Finnish metal bands, and bizarre Slovenian polka videos. We even managed to anger some Garfield fans along the way.

To celebrate the occasion, we’re engaging in our favorite hobby: giving away free stuff! But first, you have to give us something in return.

Your mission:Write a comment on this post and tell us about an accordion artist (solo or group) that we should hear. It could be a musette accordion player from the 1930s, your cousin’s conjunto band, or a punk/polka combo you found on MySpace. If there’s an accordion involved, we want to know about it!

We’ll send a handful of Let’s Polka stickers (see photo above) to everyone who posts a comment. Three lucky, randomly-chosen commenters will also receive one of these items from our holiday gift guide:

Geoff Berner’s tongue-in-cheek handbook, How to Be an Accordion PlayerBob Dolgan’s biography of Frankie Yankovic, America’s Polka KingCraig DiBiase’s polka documentary, It’s Happiness, on DVD

We’ll hold the drawing for those three prizes next Monday, so you have one week to post your comment. (If you comment after Monday, you can still get stickers but you won’t win one of the three prizes.)

Sound good? Then start posting — and winning — today!

Amaryllis at Eastbourne
Mar., 13, 2007

  
Amaryllis
 (Tracey Middleton & Dave Garwood)
 will now be appearing at
The Eastbourne Music Festival
 Sunday 18th February 2007,
during the "fully loaded" evening  concert!
Fleur du Cap Theatre Awards Ceremony, Cape Town Tango – South Africa
Mar., 13, 2007

Sergei Michailovitch Kolobkov passed away on March 8th 2007. During his artistic life he was a soloist, musical director of bayan ensembles and conductor of the Russian folk orchestra ‘Ossipov’. He taught a bayan class, which included Juri Vostrjelov, Friedrich Lips and Alexander Skljarov among his students. From 1963 to 1966 he was head of the chair for folk instruments, later he became Professor and Rector (18 years) of the Gnessin Institute (nowadays the Russian Gnessin Academy of Music), People’s Artist of Russia (1991) and from 1981 to 1984 he was Vice Minister of Culture in Russia. In 1995 he was conferred the ‘Silver Disk’ of Moscow’s festival ‘Bayan and Bayanists’ for special achievements in music.

He recorded the First Concerto for Bayan and Orchestra by F. Rubzov, was the author of transcriptions for bayan and bayan ensembles and was editor of ‘Bayan and Bayanists’, with scientific articles dealing with the bayan. On the international scene he took part in the CIA international accordion confederation events several times and also became CIA Vice-President.

In 2002, Sergei Kolobkov was awarded the CIA Merit Award in Copenhagen, Denmark for his many years of service and achievement towards the development of the accordion.

Celebrity Interview

For further information email: herbert@accordion-cd.co.at
Tropical Panama y Grupo Zaaz
Mar., 5, 2007
Tropical Panama Y Grupo Zaaz
@ El Rodeo Nightclub Houston,Tx 2.16.07
__________________







Ariel Johnson Conjunto CD Debut- Feb 16 S.A.
Mar., 5, 2007
February 14, 2007
Accordionist Ariel Johnson says he's a longtime fan of the classic conjunto groups like Conjunto Bernal and even his own dad, Chalito Johnson.
(Courtesy)
Ariel Johnson makes CD debut
"I have always liked El Conjunto Bernal," Johnson said recently. "I liked them because they have their own style, and they wrote a lot of their songs. And their vocal harmonies are good too."Johnson is hosting his own CD release party Friday night at Arturo's Sports Bar, 3310 S. Zarzamora. Also performing are Flavio Longoria y Conjunto Kings, Los Astronautas, BB Shotbird, Los Homies de Andy Saenz and DJ Bong Bob.Johnson's debut CD, "Conimigo" was produced by J.P. Guerra and Charlie Cole at the Golden Eagle Records studio. Johnson also wrote all of the 10 songs on the CD, with some translation help from his dad, including one reggaeton tuned titled "Tu y Yo."Johnson said he included a reggaeton tune because "I wanted everyone to know we're playing for everyone. Not just the older crowd, but also the younger fans too."The rest of Johnson's band are drummer Rick Perez, bass player Joe Rodriguez, and bajo sexto player Mando Tejeda.Ramiro Burr, San Antonio Express News
__________________
Table 99. Make it conjunto!
Los Amigos Del Arte Popular
http://www.ladap.org
http://www.adornmentsunlimited.net

Mar 18- KEDA SA 41st Anniversary Party
Mar., 5, 2007

 
MISSION COUNTY PARK
6030 Padre Dr. (Behind Mission Drive-In)
 LINED UP FOR THE PARTY THUS FAR,.. SATURDAY DUETO CARTA BLANCA DE JORGE Y MAGUE CONJUNTO KINGS DE FLAVIO LONGORIA BERNARDO Y SUS COMPADRES LOS ASTRONAUTAS LOS CUATROS VIENTOS SUNDAY LA TROPA F LOS FANTASMAS DEL VALLE RICKY NARANJO Y LOS GAMBLERS LOS ENMASCARADOS
__________________
Table 99. Make it conjunto!
Los Amigos Del Arte Popular
http://www.ladap.org
http://www.adornmentsunlimited.net

UKAO March Competition
Mar., 5, 2007
Who's Accordion is this?
Who's Accordion is this? The first 5 correct answers from UKAO registered members only please - by email to This email address is being protected from spam bots, you need Javascript enabled to view it "> This email address is being protected from spam bots, you need Javascript enabled to view it With the correct name of the owner of the above accordion will win a rare "Accordionists Love Squeezin" - car window sticker!Competition closes on 31st March 2007.Its free to joins & register as a member of UKAO - Please click here for an online registration form!
Fisarmonica is First Again!
Mar., 5, 2007
Fisarmonica with Gary Blair
Fisarmonica - The UKAO owned greyhound has won her 12th race yesterday at The Oxford Stadium. Monica (as she is affectionately known in the kennels) managed to squeeze past the other 5 greyhounds in presto time last night (3rd march) in a 6 bend 595metres race at the posh Oxford Greyhound Stadium ,she won impressively by over 3 lengths in a fast time of  38.00 seconds.Well done Fisarmonica!
Stockport A/C News - March/April 2007
Mar., 5, 2007
Rob Howard
On Wednesday, March 14th, SAC sees the welcome return of Bert Santilly as our Club Night guest artiste.  Bert is a most accomplished and versatile accordionist, with a wide repertoire, and known to many of you as a workshop leader at the Caister and Pakefield festivals.  Admission is £4.   As always, we begin promptly at 8pm, and all are welcome, including those who would like to play a tune or two.  SAC is now based at Woodley Methodist Church, Chapel Street/Hyde Road, Woodley, Stockport, Cheshire SK6 1BL.Early in February we received the terrible news that Anne Kearney had died, after a battle with cancer over the last three years. Anne did not recover from the anaesthetic after an operation for liver cancer.  Anne, originally from Ireland, travelled weekly for several years to practices all the way from her home in North Wales, and was a member of the SAC Orchestra, the Weaver Valley Accordion Band and Chester AC.  She will be missed.  R.I.P.  Soon after learning about Anne came the very sad news that Pete Fitzpatrick, who attended many of our Club Night concerts, had also passed away, aged 72. Pete Fitz, as he was known, was a former All Britain Irish traditional champion on both piano accordion and piano, and had also played the organ in clubs, backing singers.  Pete was a legend on the Manchester Irish scene, and was very well liked by all who knew him.  He attended many of our Club Night concerts, and once played a short spot for us.  R.I.P.We have been without our MDs during February, with Peter Whiteley visiting relatives in Australia and Brian Jenkins laid low through the prolonged effects of a really bad cold. Chris Green and Derek Pritchard ‘drew the short straw’ as stand in leaders.  Conducting is most definitely not a soft option, and the rest of us are grateful for their efforts at keeping us in order and leading us. SAC Vice President John Nixon is playing concertina with a small jazz combo at a pub called The Horseshoe, on Thursday March 1st, 9 till 11pm approx. Admission is free and the Horseshoe (a CAMRA approved pub for its beer) is located in the small village of Lawton Heath End, Staffordshire ST7 3RA - about 6-miles SW of Congleton.SAC members Rachel White and Sarah Hodge entered the NAO North Central Area Accordion Festival in Saltaire, near Bradford, on February 24th. Rachel came first in the Senior Polka, and second in the Advanced Solo Test Piece + Own Choice sections. Rachel and Sarah came second in the Open Premier Duet section. Well done, girls, and good luck at the forthcoming UK Championships, which take place at The Spa, Scarborough, over the Bank Holiday weekend, May 4th/6th. Rachel and Sarah have entered a duet section, and Rachel is contesting the NAO Advanced Championship title.  Our next Club Night concert with Bert Santilly is on the horizon, so I hope you can make it for yet another night of great music.Rob Howard        (0161) 480 8858        email:  This email address is being protected from spam bots, you need Javascript enabled to view it "> This email address is being protected from spam bots, you need Javascript enabled to view it  
Emily Smith Band - March gigs & news!
Mar., 5, 2007
Emily Smith
Hello folks

I hope you are all well and cheery. Sorry I have been out of touch since the New Year. January was a busy time as always for folkies here in Scotland with Celtic Connections festival taking place in Glasgow.
This year I was involved in 2 shows – one being a concert of Robert Tannahill songs and the other with my fellow songwriters from the Burnsong Song House (the songwriting project I took part in back in Nov 2005.) February being a short month came and went in a flash, I spent most of it on tour....   Emily Smith

As mentioned above I was out on tour with the Burnsong songwriters for much of January. We did a Tune up Tour around Scotland. It was a fantastic time for us to all get together again and resurrect the songs we wrote together in 2005. Our Glasgow show in the City Halls was packed and received top class reviews in the Scotsman and The Herald.
Sell Out Germany Tour
During Celtic Connections I recorded a song for BBC4 which will be shown on one of 2 programmes they have made about the festival. I sang ‘May Colven’, a traditional ballad which will be on my new album and performing with me were regular band mate Jamie McClennan and new guy Ross Milligan on guitar.
The programme will be aired on Saturday 17th March at 9pm.

Farewell to Steve Byrne....and Hello to New Guitarist Ross Milligan
PEEBLES, Scotland
7.30pm, Tickets £11/£9
Box office: 01721 725777
http://www.eastgatearts.com/

Friday 9th March
Rothes Halls
300 Sauchiehall Street, GLASGOW, Scotland
"Two in Accord" - Saturday 10th March
Mar., 5, 2007
Saturday 10th March from 7.30
The Windmill Inn, 42, Mill Lane, Rustington.Littlehampton, West Sussex - BN16 3JN
Tel: 01903 785883 
Dear UKAO
 
I just thought that I would let you know, hoping you will be interested in our gig next Saturday 10th Marchfrom 7.30pm at a very nice large Pub/Restaurant in West Sussex.
 
The Windmill Inn, 42, Mill Lane, Rustington.Littlehampton, West Sussex - BN16 3JN
 Tel: 01903 785883  
 
It is located just near the small bridge off the A27 opposite the Ham Manor Golf Course turning off towards Rustington and is on the left only 2 mins from the main road. 
 
I have heard the food is very good there and the music will be good too!!  
 
It is to be called a 'London Night' so we shall be playing a lot of songs in between some good lively accordion music, including a bit of Austrian and Latin.
 
We look forward to seeing you there!
 
Best wishes
 
Shirley Harvey and Bill Perkins
 "Two in Accord"
 
 
 
 
Finnish Accordion Cruise Attracts 2,700 Participants - Finland
Mar., 3, 2007
The annual Sata-Häme Soi and Finnish Accordion Association cruise was sold out to capacity as 2,700 people travelled aboard the Silja Europa Cruise liner from Turku, Finland to Sweden and back. Director of the Sata-Häme Soi Festival Sirpa Sippola and Public Relations Manager Minna Plihtari opened the cruise by hosting a VIP reception with guests including the Mayor of Ikaalinen, Tero Nissinen, Italian accordion artiste Mirco Patarini (left above), CIA President Kevin Friedrich (middle above) with Kimmo Mattila (right above).

Non-stop activities were offered including accordion music in many styles, a variety concert featuring the music of Finnish composer Paul Norrback (painting right), dancing, instrument displays, music and recordings as well as the highly contested semi-finals for both the Silver and Golden Accordion competitions.

Pictured left are Finnish Accordion Association (SHL) President and newly elected CIA General Secretary Kimmo Mattila and SHL Vice President Seppo Lankinen performing in concert.

The jury comprising Elina Leskelä, Elias Ukkonen, Anne-Mari Kunelius, Markku Lindeman and Mirco Patarini selected the following finalists to appear this summer on a live national TV Broadcast where the jury and television viewers combined choose the winner.

The finalists for the Golden Accordion (Senior) include: Sami Hopponen (Polvijärvi), Henna Tahvanainen (Tohmajärvi), Mari Laskujärvi (Vilppula), Pasi Raukola (Ulvila), Henna-Maija Kuki (Nivala) and Veli-Matti Leppänen (Ulvila).

The finalists for the Silver Accordion (children up to 10 years old) are: Mikko Suihkola (Sievi), Essi Elomäki (Pori), Lauri Tuomisto (Jurva), Minna Ristamäki (Ylöjärvi), Menni Leinonen (Lappeenranta), Eemeli Morander (Somerniemi) and Johan-Antti Kivilahti (Haapajärvi).

The annual Sata-Häme Soi Accordion Festival, expected to attract nearly 40,000 people, will take place from June 25th to July 1st 2007, in Ikaalinen, Finland.
  
Tatiana Lanchtchikova at the Auckland Philharmonic - New Zealand
Contributed by Heather Masefield

On Thursday February 22nd there was a concert by the Auckland Philharmonic Orchestra at the Auckland Town Hall. 

After the concert, the audience were invited into the bar where resident orchestra accordionist Tatiana Lanchtchikova was drawing in the crowds by playing Tangos and Hungarian music with a violinist from the orchestra.  The conductor Eckehard Stier, from Germany, then joined in playing jazz piano.

The audience adored the transformation from serious concert music to fun folk and entertainment music to finish off a great night.
Accordion XXL Concert Project in Germany
Mar., 3, 2007
In March 2007 three special accordion concerts take place in the context of the Accordion XXL Co-orchestra Project, which involves the joint participation of several accordion orchestras.

Under the direction of Andrej Baumgard, four orchestras from Stuttgart and district join together to form one big orchestra of approximately 50 players.

This combined orchestra will perform on 3 weekends in March 2007 in their city and of the associations involved. Also involved are their youth orchestras and/or smaller ensembles, such as ‘accordimento’ are taking part of this unusual concept. The concert project will be broadcast on Sunday March 11th and the co-orchestra and ‘accordimento’ can be heard during the SWR4-broadcast ‘Music from the Country’, between 6pm and 8 pm.
New Zealand Accordion Association Website - New Zealand
Mar., 3, 2007
The New Zealand Accordion Association Inc. has been granted funding by the ASB Community Trust to completely redevelop their existing website. Using a sophisticated but easy to use Email Management System, the new online presence will provide a high level of service and communication to current members through a Members-Only section and the ability to easily list events into the online Events Calendar.

Currently, newsletters are posted to members periodically. The Email Management System will open communication to a wider audience and reduce ongoing postage costs with e-newsletters.

NZAA member Robin Hill (left) achieved this substantial ASB grant and site designer is Wayne Knights, accordionist and website professional (right).
NAO North Central Area Festival - UK
Mar., 3, 2007
The NAO North Central Area Festival, a qualifier for the NAO UK Championships in Scarborough (4th - 6th May) was held on 24th February in Saltaire West Yorkshire.

The venue with 5 competitive halls and a large trade area proved to be a great success with over 200 entries in accordion classes and all the adjudicators commenting on the very high standard of performance with special mention of the under 9’s being made. Picture of prize winners, Issac Thompson (3rd), Bonnie Sharples (2nd) and Alexander Bodell (1st).

It was good to see the new initiative in a number of local schools in this area has led to many young accordionists attending an accordion festival for the first time.

Picture right of orchestra directors Harry Hinchcliffe (Festival Organiser) and Larissa Brincat. The event ended with the very popular ceilidh held in the evening with Scottish accordionist Gary Blair. Results may be found at www.accordions.com/nao
Hussong, Stefan: Some Thoughts on Repertoire
Mar., 1, 2007
Some Thoughts on Repertoire
by Stefan Hussong First of all, I'm not sure that the music I really want to play -- contemporary music -- is the kind that my audience likes the most. That is why I try to put together, as best I can, a concert program that will let the audience -- which may be meeting the accordion for the first time -- experience all the different facets of the instrument. However, that does not mean that I just string together a bunch of different pieces, but instead I try to develop a program along a certain fundamental theme, within which I present various things. For example, in my present concert program, I play two pieces in succession that were both written in D minor: one by the 20th century composer, John Cage, and the other by the 17th century composer Giralamo Frescobaldi. It is interesting to me, when doing so, that I almost feel Frescobaldi's work is much more complicated and "evolved" than is Cage's piece, at least from a harmonic point of view. Moreover, while Cage's work places great emphasis on symmetry and spatiality, making it the kind of music where the sound expands into the distance, Frescobaldi's music gives us the impression of being "closer" to us, focused as it is towards a single point with its four voices. There are other interesting parallels in my program, such as that between two pieces separated in time but based on the same text: Gubaidulina's De Profundis and Bach's chorales BWV 147 & BWV 659. I really think it is interesting to show audiences the juxtaposition between "new things" and "old things." Creative music never loses its value, although the era may change. But we cannot elicit that creativity just by repeating such music through the old way of performance. Instead, we have to jump in the middle of such music and "recreate" it. For instance, I believe that Bach's pieces for the harpsichord, somehow, contain certain parts that are almost impossible to be performed on that instrument. I'm not saying that Bach was a fool. He had his reasons. I mean to say that Bach, as an excellent composer, did not want to be confined within the boundaries of "what I can do now with the instrument before me." If one merely thought about limits, one could no longer search for the musical possibilities that lay beyond. And so, Bach demanded more from his instruments than they could give him. That goes not just for his harpsichord pieces, but also those for unaccompanied violin and cello. What I'm trying to say is that the different colors and power lurking in a piece of music may not have necessarily been fully discovered as of yet. And I feel that an important job of those of us living today is to bring those things out and express them. Fortunately, given that some composers are still alive, we can do that job "jointly" with them and I have the opportunity to exchange views, and that's one process by which a piece can develop. Instead of trying to fit oneself in a ready-made work, this open and progressive process enables music to develop. The accordion is able to do precisely what we need today -- namely, it delivers its expression "directly" to the listener. This instrument directly absorbs the movement and breathing of my body as I play it, amplifying them as it gives expression. As a result, the accordion is able to give a highly "direct" impact -- aurally and visually -- to both the audience and the composer. Indeed, modern composers are gladly responding to the call to produce works for the accordion. Not only that, but they are facing the problem of not being able to do much else with other instruments such as the piano, whose possibilities have almost been thoroughly explored and "squeezed out." In contrast, the accordion, as a new instrument, still has plenty of possibilities left, and can do many things that are not possible with existing keyboard instruments. For example, a single note on the accordion can be modulated in many ways as it is being played. And so, the last two decades or so have seen a huge increase in the repertoire for the accordion. Before, there were only a few pieces for me to play, but now I can choose from a broad selection. That's the kind of era we live in -- .the accordion is the instrument of the 21st century. Meanwhile, as a relatively new instrument, the accordion has not been completely accepted by the public. That is why I must prove to my audiences that this instrument has the capacity to play many different types of music. This is a kind of "challenge" or "fight" for me. A violinist who gives a bad recital, for example, is assigned individual responsibility for the results, while the violin itself is left blameless. However, when an accordionist gives a bad recital, people tend to blame the instrument. I am forced to be flexible. So, in my program, I take a four-century trip of music. Four centuries may seem extremely limited from a human point of view, but in the area of music it offers an experience full of a sense of expansiveness, one that transcends the limitations of reality. As in the case of dreams my trip transposes chronological order (i.e., the pieces of the program are not arranged chronologically), so that the audience may lave the concert hall imbued with the memories of certain cosmic or spatial images. This article reprinted with permission from The San Francisco Bay Area Accordion Club
Klucevsek, Guy: Accordion Misdemeanors -A Musical Reminiscence
Mar., 1, 2007
Accordion Misdemeanors: A Musical ReminiscenceGuy Klucevsek
My first memory of the accordion is seeing one on television when I was 5 years old. In the early '50's, the accordion was incredibly popular, reflected by the television success of Dick Contino on The Horace Heidt Show and the Ted Mack Amateur Hour, and the weekly Lawrence Welk broadcasts. I coaxed my dad into buying me my first instrument, a 12-bass accordion. My first teacher was Joe Macko, who came to our house to teach. I remember learning In a Little Spanish Town, along with other popular standards. After my parents got divorced in the early 50's, I moved to western Pennsylvania, to be raised by my aunt and uncle. Purely by chance, they found me one of the best accordion teachers in the country, Walter Grabowski, an intelligent, well-read man whose bookshelves were lined with volumes of Schopenhauer, Nietzsche and Bertrand Russell. He told me he memorized Beethoven symphonies by playing recordings of them in his bedroom while he slept. From the beginning, my training with Grabowski was both high-brow and low-brow: I was learning transcriptions of opera overtures, piano and violin concerti, and solo piano pieces; but I was also playing novelty pieces like Dizzy Fingers, Flight of the Bumble Bee and Carnival of Venice; and polkas and waltzes by Frank Yankovic, the hero of my Slovenian-American community. Grabowski stressed musicianship above all else: he could abide the occasional wrong note, but was unforgiving when I failed to honor the composer's intentions with regards to expression. He also gave me a solid grounding in harmony: by the time I was 16, I knew all the major, minor, seventh and diminished chords by memory. In the early 1960's, Grabowski introduced me to pieces by Paul Creston, Nicolas Flagello, Alexander Tcherepnin, Elie Siegmeister and Henry Cowell, which had been commissioned by the American Accordionists' Association. These pieces were written expressly for the accordion and they instantly felt and sounded natural on my instrument. And I was young enough to be open to the new vocabulary which these composers used. During all my excitement over original accordion compositions, I was still playing pop music, too. I had a band called "The Fascinations," made up of accordion, tenor saxophone, guitar and drums, which played for weddings, parties, club dates and dances. We had no singer, so we covered a lot of tunes by my favorite instrumental band, the Ventures --Telstar and Walk, Don't Run; along with instrumental versions of The Lion Sleeps Tonight and When I Fall in Love; and Slovenian-American polkas and waltzes. I was transcribing tunes from the radio and records and began writing my own polkas, which became my introduction to the world of composition. In 1967, Grabowski introduced me to the "free bass" accordion. Up until that time, I was playing a standard, or "stradella bass," accordion, on which the left hand buttons contained 2 rows of bass notes and 4 rows of pre-set chords--you could push one button and get a 3-note chord. The free bass accordion had a left hand system with all single tones and a range of over 4 octaves. With this instrument, I was able to play Bach and Scarlatti pieces directly from the keyboard manuscripts, with no transcription involved. And modern composers were using the left-hand buttonboard of the free bass as an equal melodic partner to the right-hand keyboard. I spent the years 1965-72 studying music at several colleges, universities, and conservatories. Because the accordion is not accepted as a classical instrument in most universities in the United States, I majored in music theory and composition and got heavily involved in electronic music. Although I don't use electronics in my works now, working with electronic music for 3 years stressed to me the importance of timbre as a primary musical element and developed in me a love of drones. The recordings I heard in college that I listened to the most were of works by Xenakis, Penderecki, Ligeti, Partch, Nancarrow and Feldman; but it was not until Morton Subotnick introduced me to Terry Riley's Rainbow in Curved Air and Steve Reich's Come Out that I realized I wanted to be a composer, not just a performer. The Reich piece, especially, made a huge impact on me: I was amazed and inspired by the idea that a composer could take a single, spoken phrase and make an entire 15-minute composition out of it without introducing any new material. I began, in 1971, writing solo accordion pieces in which subtle harmonic shifts took place over long periods of time and in which tones would slowly cross-fade between the left- and right-hand keyboards. Often times I used analog or digital delays to cover the changes of bellows, thus providing a continuum. The only piece which has survived from this time is Toronto: Sevenths (1972), for one or more accordions. From 1972-75, I taught part-time at the Acme Accordion School in Westmont, New Jersey. The director of the school, Stanley Darrow, introduced me to the European avant-garde literature for accordion, through the scores of Per Norgaard, Arne Nordheim, Ole Schmidt, Torbjorn Lundquist, et.al., and the recordings of Mogens Ellegaard and Hugo Noth. It was from studying these scores and hearing these recordings that I learned about extended techniques for the accordion, which I incorporated into my composing and performing vocabulary. In 1977, I began working with the Philadelphia-based ensemble, Relache, as performer, composer and music advisor. We specialized in what I call "performer choice" pieces--compositions for classically- trained performers in which all-or-part of the material for the piece is provided, but a good deal of decision-making is left up to the performers. A good example is Terry Riley's In C (1964), containing 53 melodic patterns which all the performers play in sequence, with each performer deciding independently how long to spend on each pattern, resulting in an infinite variety of phase-shifting. We created a repertoire of these kinds of pieces by collaborating with Pauline Oliveros, Malcolm Goldstein, Daniel Goode, Joseph Kasinskas, Thomas Albert and Mary Jane Leach. This was a very exciting process: we were creating a new kind of improvisation designed for performers who were not improvisers in the traditional sense. I composed The Flying Pipe Organ of Xian (1985) for Relache using this technique. In 1984, I heard John Zorn for the first time at New Music America/Hartford, performing his game piece, Rugby. This performance challenged every idea I ever had about ensemble playing: here was a situation where every decision in the piece was being made by the performers, guided by a set of instructions provided by Zorn. I was so excited by what I heard and saw that I ran up to Zorn on stage, introduced myself, and told him if he ever needed an accordion player in a future project, I wanted to do it. The next year, Zorn took me up on my offer by inviting me to join the Cobra big band. With Cobra, Zorn was able to do for the '80's what In C did for the 60's: create a classic piece for open instrumentation for performers who wanted to be part of the creative process of realizing a piece. Cobra codifies just about every aspect of free improvisation: instructions are provided which enable individual ensemble members to determine orchestration, dynamics, density, types of material, endings, even the ability to call back events which happened earlier in the performance ("memory systems"). And, in a quintessentially American move, Zorn provides "guerrilla systems" for those independents who don't like taking instructions from anyone. The Cobra band was made-up of people whom I was meeting for the first time: Elliott Sharp, Bill Frisell, Bobby Previte, Wayne Horvitz, Zeena Parkins, Carol Emanuel, Arto Lindsay, Christian Marclay, and Anthony Coleman. I had no contact whatsoever with the free improv scene before, but I have since collaborated on numerous projects with many of these same people. During the tour of Cobra, I asked Zorn about the possibility of writing me a solo accordion piece. He said that he had never written a piece in which he did not perform himself, but would be glad to give it a try. The result was Road Runner, which he finished in January of 1986, and which we first realized as a recording project for my cassette-only release, Blue Window (zOaR, out-of-print, reissued on Manhattan Cascade, CRI). I was so encouraged by the results of the Road Runner experience that I continued commissioning solo accordion pieces from Lois V Vierk, Mary Ellen Childs, Anthony Coleman, John King, Aaron Jay Kernis, Stephen Montague, Somei Satoh, William Duckworth and Alvin Lucier. There seemed to be a healthy, nurturing balance between my own composing and performing pieces by my colleagues. My own music took an abrupt shift after meeting Zorn: up until 1985, my pieces were definitely out of the minimalist mold, concentrating on limited material which I would put under an intense musical microscope. My first solo piece after working with Zorn was Scenes from a Mirage (1985), a set of variations on a theme which sounds vaguely ethnic. I put the theme through the stylistic ringer, with references to flamenco guitar, Tex-Mex accordion, Balkan bands and Henry Cowell-like tone clusters. This was the first time since high school that I drew on popular music and the first piece I ever wrote using more than one genre. Although the piece sounds nothing like Zorn, its episodic structure and mixture of popular music sources with art music techniques came directly out of my experiences with Cobra and Road Runner. Also in the mid '80's, I was invited to compose my first score for modern dance. I continued drawing on forms from popular music for this project, Waiting Room. I wrote a march based on a traditional Shaker melody; a cover version of Sentimental Journey, which I had Bill Frisell play over a drone; a middle-eastern-sounding tune called Fez Up; a jazzy, chromatic piece in 11/4, Urban Rite; and my first polka in 20 years, The Grass, It Is Blue (Ain't Nothin' But a Polka).The Grass, It Is Blue gave me the idea for my next project. My thought was, if I can write a polka without giving up my avant-garde credentials, why don't I ask other composers to try to do the same? I invited composers from a broad cross-section of the alternative music scene: free improv--Fred Frith, Elliott Sharp, Tom Cora, Christian Marclay, John King, Nicolas Collins, Anthony Coleman; new classical music--William Duckworth, Carl Stone, Thomas Albert, Peter Zummo, Mary Jane Leach, Rolf Groesbeck, Aaron Jay Kernis, David Mahler, Joseph Kasinskas, Peter Garland, Daniel Goode, Guy De Bievre, Mary Ellen Childs, Lois V Vierk, Bill Ruyle; jazz, pop, rock--Bobby Previte, Carl Finch, David Garland, Robin Holcomb, William Obrecht, Steve Elson, Phillip Johnston. I gave the composers only the following criteria: try to write a piece under 3 minutes that can be played either solo or with a band. The result was a collection I call POLKA FROM THE FRINGE. I have spent most of my creative life since 1985 writing music for dancers. There are so many things I like about writing for dance: the act of collaboration with someone outside your own discipline can create naive, outrageous, impractical demands--leading to improbable, surreal and inspired solutions; dance seasons are 3-6 days long, so you get to perform the pieces several times over a short period, polishing and refining the composition and performance; the audience is broader, less specialized, but at the same time more exposed and friendly to new music than concert music audiences. I have now written about 20 pieces for dance and it continues to be one of my favorite and most fulfilling activities. For a 1992 dance project called Passage North, I put together an acoustic band of accordion, violin, cello and bass. I recently recorded the material and was so taken by the sound of that ensemble that I have decided to make it a working band. I'm now writing and arranging material for the group, to be called the Bantam Orchestra, and intend to tour and record with that combination for the next few years. The most amazing thing about being an accordionist for 40 years has been to experience the dramatic shifts in public opinion about the instrument. As I said, I began playing in 1952, when the accordion was the most popular instrument in America. By the late 50's, however, the guitar had replaced the accordion in popularity: kids watching television at that time were more likely to see Elvis Presley playing guitar than Dick Contino playing accordion. During the 60's and 70's the accordion was decidedly and totally out-of-fashion. Not only were fewer people playing it, but the future of the instrument seemed relegated to camp and nostalgia. But by the late '80's, low-and-behold, the explosion in world music brought the accordion back into vogue again--you could now see accordions not only in bands from Texas, Louisiana, Brazil, Argentina, Colombia, Puerto Rico, the Dominican Republic, South Africa and Madagascar--but in pop culture again, with Paul Simon, John Cougar Mellencamp, Los Lobos, Ry Cooder and Tom Waits. Now in the '90's, the accordion shows up frequently in television commercials, the ultimate capitalist compliment. I've continued playing the accordion through all these attitude adjustments. People often ask me why. I used to explain that I made the choice when I was a 5-year-old, but that always made it sound like, had I been a sensible adult instead, I would have known better. Would I have made the decision knowing the negative image that came with the instrument? I don't know. I'm just thankful that I made the choice at an age when we act first and foremost on our instincts. In 1988, I was asked to perform on Mr. Rogers' Neighborhood, a long-running, children's television show. The producers explained to me that they wanted to show children that the accordion could be used as a classical instrument. For me, it was like coming full-circle. Now I had a chance to play accordion on television and just maybe there would be one child out there watching for whom the accordion would spark an interest, and perhaps even a life, in music. About the Author

GUY KLUCEVSEK has created a unique repertoire for accordion through his own composing and by commissioning over fifty works from composers including Mary Ellen Childs, Anthony Coleman, William Duckworth, Fred Frith, Aaron Jay Kernis, John King, Jer ome Kitzke, Alvin Lucier, Stephen Montague, Somei Satoh, Lois V Vierk and John Zorn.He has composed over 20 dance scores for choreographers including Karen Bamonte, Angela Caponigro, David Dorfman, Anita Feldman, Victoria Marks and Mark Taylor. Klucevsek also composed the music for Chinoiserie, an evening-length music/theatre piece written in collaboration with Ping Chong and Company, which was presented on the 1995 Next Wave Festival at the Brooklyn Academy of Music, where it ran for 5 s old-out performances. His solo performances include the Berlin Jazz Festival, New Music America, Serious Fun! at Lincoln Center, Bang on a Can, and the children's television show Mr. Rogers' Neighborhood. He has also performed and/or recorded with Laurie Anderson, Anthony Braxton, Bill Frisell, Fred Frith, Robin Holcomb, the Kronos Quartet, Pauline Oliveros, Bobby Previte, Relache and John Zorn. In 1987, Klucevsek commissioned Polka From the Fringe, a collection of 32 post-modern two-steps by such composers as Carl Finch, Fred Frith, Christian Marclay and Elliott Sharp, which he presented at the 1988 Next Wave Festival, and has performed a round the world with his group, Ain't Nothin' But A Polka Band. He has released eight recordings as soloist/leader, including Polka Dots & Laser Beams and ?Who Stole the Polka?, which were chosen as the best recordings of 1992 by John Schaefer on the nationally-syndicated radio program New Sounds, and Transylvanian Softwear, which was cited as a 1995 Recording of Special Merit in Stereo Review. He can also be heard on the recent compilations Planet Squeezebox on Ellipsis Arts and Great Jewish Music: Burt Bacharach on Tzadik. Klucevsek received a 1995 New York Dance and Performance Award (BESSIE) for his score for David Dorfman's Dance, Hey, and was awarded a "Listen Up" prize for "Best Original Score of 1996" by Publishers Weekly for his music accompanying the Audio Book version of E. Annie Proulx's novel, Accordion Crimes.
GUY KLUCEVSEK
composer / accordionist DISCOGRAPHY SOLOIST/LEADER Altered Landscapes, Evva
Stolen Memories, Tzadik
Citrus, My Love, RecRec/Swiss
Transylvanian Softwear, John Marks Records
Manhattan Cascade, CRI
Polka Dots & Laser Beams, Evva
?Who Stole the Polka?, Evva
Flying Vegetables of the Apocalypse, XI
Scenes From A Mirage, Review
Blue Window, Zoar (out-of-print)COMPILATIONS Great Jewish Music: Burt Bacharach, Who Gets the Guy?, This Guy's in Love With You, Tzadik
Planet Squeezebox, The Grass, It Is Blue, Ellipsis Arts
Legends of Accordion, Awakening, Rhino
The Composer-Performer, Samba D Hiccup, CRI
Koroshi No Blues, Sukiyaki Etoufee, Maki Gami Koechi, Toshiba EMI
Norwegian Wood, Monk's Intermezzo, Aki Takahashi, Toshiba EMI
Music by Lukas Foss, Curriculum Vitae, CRI
Here and Now, Oscillation No. 2, Relache, Callisto
A Haymish Groove, Transylvanian Softwear, Extraplatte
A Confederacy of Dances, Vol. I. Sylvan Steps, Einstein
A Classic Guide to No Man's Land, Samba D Hiccup, No Man's LandWITH JOHN ZORN The Big Gundown, Nonesuch Icon
Cobra, Hat Art
Lost in the Stars: The Music of Kurt Weill, Der Kleine Leutnant Des Lieben Gottes, A&MWITH RELACHE On Edge, Mode
Open Boundaries, Parterre, Minnesota Composers Forum McKnight Recording
Pauline Oliveros: The Well and The Gentle, Hat ArtWITH OTHERS Laurie Anderson: Bright Red, Warner Bros.
Anthony Braxton: Four Ensemble Compositions, 1992, Black Saint
Mary Ellen Childs: Kilter, XI
Anthony Coleman: Disco by Night, Avante
Nicolas Collins: It Was a Dark and Stormy Night, Trace Elements
Fast Forward: Same Same, XI
Bill Frisell: Have A Little Faith, Elektra Musician
David Garland: Control Songs, Review
Robin Holcomb: Rockabye, Elektra Musician
Guy Klucevsek/Pauline Oliveros: Sounding/Way, private cassette release (out-of-print)
Orchestra of Our Time: Virgil Thomson, Four Saints in Three Acts, Nonesuch
Bobby Previte: Claude's Late Morning, Gramavision
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