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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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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 Land

WITH 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&M

WITH RELACHE

On Edge, Mode
Open Boundaries, Parterre, Minnesota Composers Forum McKnight Recording
Pauline Oliveros: The Well and The Gentle, Hat Art

WITH 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

Jbanov, Roman: Accordion Festival, Bucharest - Romania (festival review)
Mar., 1, 2007
Review by: Roman JbanovAccordion Festival, Bucharest - RomaniaThe first accordion festival in Bucharest, known also as "The sleepless nights of the accordion" took place from September 7th to 9th in the ARCUB Arts Center, and on September 10th in Ploiesti. This event was the initiative of Romanian accordionist Emy Dragoï, with Richard Galliano [picture left].The year 2006 is the year of the French in Romania. In partnership with the French Embassy, the founders of this festival, Emy Dragoï and the association 'Acordeon Armony Music' decided to invite great artistes from France. The Balkan music has also its charm filled of nostalgic feelings supplemented by the great virtuosity.Accordionist Ion Bica Dragoi, the father of Emy, opened the festival accompanied by a traditional group and with his small son who was highly appreciated by the crowd. They chose to perform a repertoire in memory of the accordionists Farimita Lambru, Marcel Budala and Ilie Budala. Then the trio of David Rolland on the diatonic accordion played music in the Cajun style of Louisiana. The cousin of Emy also made a performance with a program of traditional Balkan music.In the second part of the concert a recital by Roman Jbanov, (picture left) from the Ukraine, on a bayan accordion, played transcriptions of classical music by Buxtehude, Scarlatti, Moussorgski, Rossini and pieces by the French composer Franck Angelis and Russians Viatcheslav Semionov, Evgenii Derbienko and Viktor Novikov. The following day, the audiences heard the French musette style with performances by Alexandra Paris. Roman Jbanov introduced original Russian pieces. Maestro Juan Jose Mosalini played the bandoneon accompanied with the guitar by Argentenian Leonardo Sanchez [picture left]. Their repertoire was the tango with compositions of Astor Piazzola, but also of own compositions of Mosalini and others.The third day Emy Dragoï performed in the first part of the 'Etno-Fonia Swing' jazz and swing manouche, accompanied by the National Academy of Bucharest, and on the piano by Petrica Andrei, Christophe Lartilleux on the guitar, Albert Gheorghe on percussion, Kuba on double bass, with the contributions of various jazz singers: Irina Sarbu, Iitssor Raluca and Teodora Enache. The program was very varied. Richard Galliano charmed the room with his compositions and his individual style [picture bottom].The final concert took place on September 10th in the Philharmonic Théatre of Ploiesti. Almost all this festival was recorded by the Romanian television TVR and will be available their internet site: www.tvr.ro.The aim of this festival was to promote the accordion and related instruments. Emy Dragoï carried this out with a great artistic and musical quality with the assistance of her friends and her family. Maybe a 2nd edition of this festival will take place next year...
Sommers, Joan Cochran: Maestro Anthony Galla-Rini--A Personal Reflection (essay)
Mar., 1, 2007
Essay:
The following essay was originally published in the September/October 2006 edition of Accordion World magazine (editor: David Keen) and is presented here by the permission of Accordion World.
(See our review of Accordion World Magazine).Maestro Anthony Galla-Rini
18th January 1904 - 30th July 2006A Personal Reflection by Joan Cochran Sommers (USA)Anthony Galla-Rini came to Kansas City, Missouri, USA to give solo concerts several times during his concert career. My teacher, Cecil Cochran, sponsored him every time, whether it was for a solo recital or for the many days of group rehearsals and workshops that he also presented. When I was 14 years of age, arrangements were made for some of Mr. Cochran's students to play a solo for Galla-Rini, who was a very handsome, well-dressed gentleman whom everyone thought was really an Italian Hollywood idol who could play this fantastic music on the accordion. Naturally, we were absolutely terrified and, in fact, my younger brother was so scared that he began fiddling with an open window and it fell on his fingers, making him just that much more anxious and far less able to play well. However, in spite of the surrounding excitement and general angst among both parents and students, I performed one of his recent arrangements for him and apparently he was pleased. From that early performance for Anthony Galla-Rini, however. I received the invitation to travel to New York City to be a member of his master class session he was holding. The invitation was only valid if I would learn about 15 solos that he assigned for me to learn in the next few months. I turned 15, began to learn all of them and was given a scholarship that covered my travel expenses so my mother and I took our first airplane ride and flew to the big city of N.Y. Needless to say, the experience had a great influence on me. It was my real introduction to Anthony Galla-Rini as a teacher, one who became my lifelong friend and mentor as well. Tony came to Kansas City for several summers and would stay for a period of three weeks, perhaps, while he rehearsed our accordion orchestra, although they were often called bands in those days. He would send many of his arrangements but would also include a few from Europe that he had obtained on a recent tour or from his overseas friends. Our orchestra would practice the parts and then Tony would come to Kansas City and really put us through the wringer. It was indeed a wringer since, at that time, no one had air conditioning and the summers were hot and humid! We worked many hours a day, day after day after day, until we were ready to perform in Chicago during the NAME Convention period, sometimes sponsored by Galla-Rini in Kimball Hall and other times sponsored by either the Titano or Giulietti Accordion Company during their trade-show concerts. It was an exciting time and on each of these concerts, Tony would premiere the newest of his hundreds of accordion orchestra arrangements, always conducting from memory with great dignity, a trait that never diminished or faltered even at the age of 100 when he needed to sit while conducting. None of us in the orchestra, or those in the large audience, could ever forget the first time we played his arrangement of the Finale to Tschaikovsky's Fourth Symphony. That arrangement, along with the Dance of the Buffoons by Rimsky-Korsakov, probably became the absolute favourite competition piece performed by all accordion orchestras in the United States for a very long time.During these same concerts, Anthony would play several solos, always new and always with at least one selection that no one else would ever have attempted because of the intricate technical passages required in the left hand. What others always thought impossible, Tony would attempt and prove that there was always more the accordionist's left hand could do. At that time, he could only switch to move between the various octaves, there were no free basses for a few years yet.But switch he did and he made his students learn to do so as well. In his workshops, he gave us page after page of melodic exercises in which we were required to mark the correct switches, and fingerings, in order to stay in the exact pitches written on the music. He always thought the left hand should be equal to that of the right hand and did everything in his power as a teacher to help his students to achieve that. To this very day, I have stacks of the numerous exercises he wrote out for us to practice.Anthony Galla-Rini did not focus only on left-hand technique: he also taught right-hand technique, but always with a hint of a music theory teacher's viewpoint, I think. We did not just play exercises, we learned theoretically what it was we were playing. Galla-Rini was a real teacher and introduced us to the books that served as his resources for his own volumes of "treatises" on various musical topics with multitudinous subject matters, often far above our comprehension at that precise moment. Those early lessons have continued to be valuable throughout the many years of my own and many others' teaching careers.During one long period of time, Anthony Galla-Rini served as the Chief Examiner for the Accordion Institute of America's yearly Syllabus Examinations in Kansas City. Students, including myself, were given the usual examinations regarding repertoire performance, aural tests of all sorts, and written music theory. It was a grand occasion when Tony would set up his "testing room" where he would hold examinations for several days at a time and he would rejoice as much as the candidates when they passed each successive syllabus level. He was a strict adjudicator but one who often gave second chances when needed! And during the evening hours of relaxation, while enjoying a dinner, a fine wine, and friendly conversation, he was full of fun, tales of his work in the movies with famous stars or directors, with musical wit as well as the latest news from his colleagues throughout the accordion world. There was another example of Anthony Galla-Rini's personal character, also, when it came to paying the restaurant bill for the evening: Tony always remembered when it was his time to pay or at least share the costs. Yes, he was a true gentleman in addition to being a great musician and these were during times when I am sure he, as the case with most musicians without a weekly salary, needed to watch his pennies. Regardless of all the work he did and of all the thousands of arrangements he made that were published, Tony had to work hard for his money and he did so his whole life.There are many musicians born with absolute or perfect pitch, but none who could have surpassed or even approached the accuracy exhibited by Tony Galla-Rini! He could hear everything: there simply was no way to fool him. Of course, he also knew every note of every piece, solo or orchestral, so he knew what he was supposed to be hearing. His arrangements were never equalled in his day because of his total devotion to writing them as the composer would have written them originally, as if for the accordion in the first place. His tremendous knowledge of music theory and harmony, coupled with his own genius as a composer, arranger, and performer, simply made him better than all others. He omitted nothing; if the composer wrote it, he put it in. If there were cuts made, because of time limits or lack of suitability, he always seemed to make the correct ones! While other arrangements might sound thin, without the inside middle voices, or perhaps even with wrong notes, Anthony Galla-Rini's were always correctly analysed in the first place. And in the second place, he knew how to put it on manuscript. He knew how to use the abilities of the accordionist and he knew the possibilities of the instrument. His accuracy in doing so was simply superb and without fault to the very end. Even in his very advanced age of 99 and even 100, he continued to write those very distinguishable, recognisable and readily readable notes on the page without mistakes, truly another of his remarkable qualities!His understanding of how the left-hand mechanisms worked caused him to merely open up the instrument, cut off the offending 5th of the dominant and diminished seventh stradella chord buttons. Galla-Rini was thereby again paying homage to the rules of harmony and, in so doing, allowed all accordionists far greater opportunities for use of the stradella chords. He was an innovator but it was always for the benefit of the music. Switches on an accordion were placed there to be used, not just to decorate or sell the instrument. Tony used them and he made his students use them properly. I have already alluded to this uncanny ability of his left hand to play tremendously difficult passages and play them in the correct octave. He was just as obsessed with teaching his students the need for understanding correct pitches or octaves in the right hand and how the switches should be used. Middle C was not allowed to move willy-nilly over the keyboard unless the correct switch accompanied the move. It was during these many sessions that I, personally, began to be fascinated with orchestral scores, particularly, and how to understand the different qualities of timbre and their relationships to the accordion. He opened my eyes to the works of so many composers, including those of the familiar traditional keyboard repertoire, but perhaps most especially to those of the great orchestral works.Anthony Galla-Rini was a demanding person, not only of others but also, especially of himself. He expected the best from himself and from his students. There was friendliness and kindness, but always with a firm understanding that he was indeed the master. This was perhaps a throwback to an earlier era, but most certainly warranted in the instance of this great man who came to be known as The Maestro in his later years at his many music camps. Even then he exhibited the elegance required of and demanded by such a title so lovingly bestowed upon him.Literally hundreds and hundreds of players have shared the genius of Anthony Galla-Rini through the playing of his vast numbers of arrangements for solo and orchestra. While some of those were made in response to the dictates of a certain period of time, many others will remain in the repertoire and libraries of accordionists, valuable for both teaching and performance, for students and professionals. His two concerti were perhaps his finest efforts at composition, an art he thoroughly understood. Anthony Galla-Rini also knew intimately each and every instrument for which he wrote and because of this, he composed every note for every instrument; the orchestrations were not left to anyone else. His Concerto No. 1 in g minor is undoubtedly the most performed of any accordion concerto, at least in the United States, if not in the world.His wife, Dina, came from a famous accordion family and was a person who doted on her husband; she sat and listened to every note, every day, wherever and whenever. After she died and Tony remarried, his second wife, Dolly, was the same; she also travelled with him and listened to everything he did with great admiration. I considered it a great privilege to share many good times with both Dina and Dolly and to have had them as my very good friends. I, like hundreds of other accordionists, have many wonderful memories of Anthony Galla-Rini and they will never be forgotten. The world will never forget him since he was a giant in the history of the accordion in so many different ways. From his early years as a child performer growing up in vaudeville and continuing on through practically his last days on earth at the age of 102, his story is well known through the hundreds of articles written about his life and his many accomplishments. But my memories include not only those I have read about but, also, the ones I had the inordinate privilege of sharing as a student, friend and, eventually, a colleague. God blessed us all with the presence and life of Anthony Galla-Rini. He was a good human being and a great musician! May his legacy live on forever.Copyright 2006
ACCORDION WORLD
Robinson, Les: Does My Accordion Sound OK to You? (essay)
Mar., 1, 2007
Essay:
The following essay was originally published in the July/August 2006 edition of Accordion World magazine (editor: David Keen) and is presented here by the permission of Accordion World.
(See our review of Accordion World Magazine).Does My Accordion Sound OK to You?Part one in a series by Les RobinsonWhen I began repairing accordions professionally many years ago, my main interest was in tuning. It is difficult to give an exact date, but at that time motorcycles were mostly made in Birmingham and it was possible to buy a loaf that tasted like bread. Late sixties, I would say.I soon realised that just getting reeds to the correct pitch is not the whole story. For a tuning to be effective and stable there are many checks to be made and deficiencies put right. Every component contributing to the output of sound should be at its best. Those faults which do not influence the pitch of the reeds but can sabotage their performance should also be sorted out. For example, when an accordion has been in use for some time, dust, fluff, slivers of wood, the occasional digestive biscuit etc builds up behind the keys and buttons. Some of this collection can find its way inside the accordion and choke reeds, especially the smaller reeds at the knee end of the treble keyboard where gravity has taken most of the debris. Or it will become embedded in the leather faces of the key palettes, spoiling their airtightness. Airtightness, or compression, has an important bearing on the instrument's performance.With the above in mind, and because I prefer to work on a clean instrument anyway, on all accordions reconditioned in my workshop for resale every moving part, treble and bass, is serviced before the reedwork is even started, tuning being the final task.Tuning has its basis in mathematics, hence its academic appeal, but tuners do not need math's [sic] to exercise their craft. The earliest tuner 1 have heard of was the Greek, Pythagoras of right-angled triangle fame who, around 550 B.C. invented the Monochord while sitting in his bath, perhaps.I mentioned Pythagoras and his Monochord. I have had many requests about this but decided to tell you about them anyway. The Monochord, then, consists of a taut string stretched between two fixed posts which are mounted on a sounding board or box. A movable bridge allows the effective length of the string to be varied and some important relationships can be demonstrated. Consider an example, if the open string (i.e. no bridge) is A440, then if the bridge is placed at the half-way point we find that A880 (an octave higher) is produced on each side. With the bridge at the two-thirds point, E660 is produced on the long side and E1320 on the short side. And at the three-quarters point D587 is on the long side and D1760 on the short side.Guitar players will see this immediately, violin players even sooner. And if you can prise little Johnny away from his GSCE maths homework to assess the evidence he will tell you that the pitch of the note varies inversely as the length of the string. If you have a table of standard pitches to hand, (doesn't everyone?) you can see that the numbers quoted for E and D are not quite the same as those given by the Monochord. The reason? Your table will show the frequencies of the twelve-note scale in "equal temperament" which is the tuning system in general use in the Western world. It was perfected in 1691 by Andreas Werkmeister and adopted pdq by musicians because in this system all keys sound equally concordant. Johann Sebastian Bach celebrated the fact with his "Well Tempered Clavier" comprising 48 preludes and fugues using all 12 major and all 12 minor keys.When a note is raised in pitch by an octave its frequency, measured in Hertz, is doubled, i.e. multiplied by 2. In the equal temperament system the octave is uniformly divided into 12 semitone intervals. Uniformity is achieved by using a multiplier, the twelfth root of 2 which is approximately 1.0594631.To show how this works we can construct a short table of standard musical frequencies, starting at A440. You may be able to use your computer for this task, but a pocket or desk calculator is more than adequate. Start by feeding in 1.0594631 and make this a constant multiplier. On mine I need to press "multiply" twice for this feature. Next feed in 440 and press "equals" to display 466. 16376 (B flat). Press "equals" again to display 493.8833(B) and again for 523.25113(C). Continue until the octave is completed and beyond if you wish.You ladies may prefer to dance backwards, in which case press "divide" twice at step 2 before inputting 440. This will give decreasing frequencies down to A220 and beyond.Without really trying, you have also built a compound interest table. We deposited £440 in a savings account offering just under 6% interest per annum and we left it intact for 12 years. Then we built a discount table which showed that our £440 will be worth £220 in 12 years time if inflation is just under 6%p.a. each year. Next time - how these numbers are used to tune your piano.Copyright 2006
ACCORDION WORLD
Frosini, Pietro : Jolly Caballero (cd review)
Mar., 1, 2007
CD Review: Pietro Frosini: Jolly Caballero
total time: 77:06
label: AV Norild Forlag AS
review date: May 2006

Order from:
The Classical Free-Reed, Inc. Online Gift StorePietro Frosini
Jolly Caballero   SelectionsSwedish Italian MazurkaPensieri Algeri WaltzHot Fingers NoveltyLa Mariposita BoleroBel Viso PolkaFrosini Symphonic MarchDizzy Accordion NoveltyOlive Blossoms WaltzLove Smiles TangoBel Fiore TarantellaCoquette PolkaGauchos on ParadeRag in DmCordinella NoveltyVisione D'Amore WaltzLuna D'ArgentoBeautiful Heaven WaltzI Hate to Love You (traditional)Valse Caprice No. 1Serenata PrimaverileVieni Amore
Rantanen, Matti: ZOLO--Finnish Works for Accordion (cd review)
Mar., 1, 2007
CD Review: ZOLO--Finnish Works for Accordion
total time: 70:40
recorded: August 2003
review date: April 2006 ZOLO
Finnish Works for Accordion   SelectionsEinojuhani Rautavaara (b. 1928)
Fiddlers op.1    Pelimannit op. 1 (1952/1992)*Närböläisten braa speliKopsin JonasJacob KönniKlockar Sarnuel DikströmPirun polska (Devil's polska)Hypyt (Village hop)
Otto Romanowski (b 1952) Hiding, for accordion and tape      (harmonikalle ja nauhalle) (1994)
Harri Vuori (b. 1957) The Hour of the Wolf      Suden hetki (2000)
Jukka Tiensuu (b. 19481) Zolo (2002)
Tapia Tuamela (b. 1958) Feux Follet      Virvatulia (1996)
Pehr Henrik Nordgren (b, 1944) In Patches op. 41 (1978)
Einafuhani Rautavaara (b. 1928)*
Icons      Ikonit (1955/1997) The Death of the Mother of God (Jurnalanjäidin kuolema)Two Village Saints (Kaski maalaispyhimtstä)The Black Madonna of Blakernaya (Blakernajan musta Jumalanäiti)The Baptism of Christ (Kristuksen kaste)The Holy Woman at the Sepulchre (Pyhät naiset haudalla)The Archangel Michael Fighting the Antichrist
(Arkienkeli Mikael kukistaa Antikristuksen)
* arranged by Matti Rantanen
The Complete Works of Pietro Deiro, Volume 1: Celebrated Polkas (cd review)
Mar., 1, 2007
CD Review: The Complete Works of Pietro Deiro Volume 1: Celebrated PolkasHenry Doktorski, Accordionist

Total time: 53:43
Produced by The Classical Free-Reed, Inc
Released: 2006

Review Date: March 2006

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The Classical Free-Reed, Inc. Gift Store

Program: Forbidden PolkaPyramid PolkaParadise PolkaCelestina PolkaHoliday Festival PolkaMother’s Clock PolkaTeresina PolkaTwinkle Toe PolkaCaresse PolkaRhapsody PolkaPolish PolkaRussian PolkaPolka BohemienneBriosa PolkaJubilee PolkaAida PolkaTilba PolkaVivacity Polka
John Molinari and Veikko Ahvenainen - The Historic Recordings (cd review)
Mar., 1, 2007
CD Review: John Molinari and Veikko Ahvenainen
The Historic Recordings John Molinari and Veikko Ahvenainen, Accordions

Total time: 93:32
Produced by Accordia
Released: 2005

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Program: Mozart: Marriage of Figaro OvertureChopin: Waltz in EmPonchielli: Dance of the HourstItalian MedleyCanadian Capers Fagerlahden Hambo Finnish Polka Medley Daquin: The Cuckoo My Sweetheart Kenonen's Polka The Nightingale Sakkijarvi Polka Gounod: Waltz from Faust Sibelius: Finlandia Adamo Volpi: Preludio Galuppi: Presto Bach: Toccata in Dm Smetana: Dance of the Comedians Paganini: La Campanella Liszt: Liebestraum Godzinsky: Hungarian Fantasy Manuel de Falla: Ritual Fire Dance Katchaturian: Sabre Dance Fancelli: Aquarelli Cubani Grieg: March of the Dwarves Rimsky-Korsakov: Flight of the Bumblebee Merikanto: Midsummer Night Waltz Finnish Polka Medley Finnish Folk Dance Magnante: Accordion Boogie
Carmen Carrozza, Accordion (cd review)
Mar., 1, 2007
CD Review: Carmen Carrozza, Accordion
Carmen Carrozza, Accordion

Total time: 36:06
Produced by Dr. Joseph A. Ciccone
Released: 2002

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Program: Jack Walters, New York Story Live Radio BroadcastP. Creston: Prelude and DanceF. Mendelssohn: Piano Concerto in Gm, first movementF. Chopin: Fantasie ImpromptuA. Tcherepnin: Partita W. Riegger: Cooper Square C. Carrozza: Themes from A. Hovhaness' Rubaiyat J.S. Bach: Adagio from Toccata in C Major
Ensemble Draj: Kinderjorn-Aufwachsen im Ghetto (cd review)
Mar., 1, 2007
CD Review: Kinderjorn-Aufwachsen im Ghetto
Ensemble Draj Web Site: www.draj.de total time: 49:40
released: 2006
review date: January 2006 Kinderjorn-Aufwachsen im Ghetto
(Childhood Years--Growing up in the Ghetto) Song List a jingele, a mejdeleun a jingele wet sej firnwer der erschter wet lachnoifn pripetschikawremele un joselekinderjornunter di grinike bojmelechjisrolekpapir is doch wajss schlof, majn feijgeleballade funm hajsla jingele, a mejdeleManuela Weichenrieder: Voice
Ralf Kaupenjohann: Accordion
Ludger Schmidt: Cello

Review by: Robert SteadAs the title "Kinderjorn-Growing up in the Ghetto" suggests, this album is thematically unified. Within the poverty and confines of the ghetto, life rich in emotions, passions, hopes, and dreams exist. The paucity of instruments mirrors the objective poverty of the ghetto. Or, stated another way, the constriction of instrumentation reflects the constraints of the ghetto. But just as the ghetto cannot contain the human spirit, these three instruments, voice, accordion, and cello, combine to display the rich texture of life in the midst of poverty. I intentionally refer to the voice of Manuela Weichenrieder as an instrument due to the way she uses it to blend and complement the accordion and cello. Using only their respective instruments without any overdubbing or looping and with either no or very limited reverberation, the Ensemble Draj brings these Yiddish songs to life.The songs presented here are a combination of traditional Yiddish pieces and songs composed in the late 19th century and early 20th century. Ensemble Draj mixes jazz, new music, blues, and classical forms in order to draw out the emotions latent in each piece. Vocalist Manuela Weichenrieder states: "These songs are an unbelievable emotional challenge." Using the full power of their respective instruments, this group more than meets the challenge.The first piece, a jingele, a mejdele (a boy and a girl), presents Manuela in an unaccompanied solo. As mentioned earlier, her voice is an instrument in its own right. The absence of any reverb puts her voice directly in your presence. And what a presence! Her alto voice is amazing clear and very powerful. Our entrance to this ghetto world is not the pain of isolation and rejection, but rather the joy of life through the joining of a boy and a girl. As the program notes explain, this song is "a fairly straightforward song: a boy and a girl, they've found each other, so let's all dance, parents and children, old and young!"Un a jingele wet sej firn (and a boy will be leader) begins with the wail of Ludger Schmidt's cello with Ralf Kaupenjohann moments later adding full chords double forte. You immediately realize that this collection of traditional songs will not be constrained by any traditional settings. The passion of the introduction gives way to a subdued cello plucking a counterpoint to the lyrics sung by Manuela. The accordion then re-enters playing pianissimo tonal clusters using the piccolo reeds. These clusters work their way down the keyboard and then blend with the alto voice and the cello. The passion of the introduction is restated and then we return to the subdued lyric section. The return, however, brings the accordion back playing new thematic material--a motif that is light and childlike. This song is based on Prophet Isaiah's claim that "there will come a time when the wolf and the lamb, the leopard an the kid, the cow and the bear will live together in peace" (from the program notes). Wer der erschter wet lachn (who will laugh first) tells the story of two boys: Awremel and Schlojmele. Awremel bets that he can make Schlojmele laugh. Schlojmele has no reason to laugh. He is hungry, his father is unemployed, the rabbi is a harsh teacher. Awremel persists and wins. The piece begins as a duet between voice and cello with cello providing counterpoint. The accordion then joins providing a rhythmic background to the continued interplay of voice and cello. The trio is followed by a jazz duet played by the accordion and cello. The cello provided a "walking bass" with the accordion improvising on the melody. Manuela then re-enters with the lyrics with support from a playful cello and and rhythmic pulse of the accordion. Another jazz duet appears--this time we have the bowed cello improvising while the accordion provides the rhythmic and harmonic background. The trio then returns to end this delightfully playful piece--a piece that provides a wonderful interplay of jazz and folk.Oifn pripetschik (by the fireplace): the warmth of the fireplace; the teaching of the rabbi. The rabbi teaches the children those lessons that will give them strength to meet the harsh future ahead of them. The accordion opens this selection joined by voice and cello. An un metered section gives way to a light and playful 2/4 section that quickly turns into a 3/4 waltz effect. This then gives way to an accordion-cello duet that takes the piece into a bizarre world. The duet begins with a "Satie-esque" theme and then morphs into a rather macabre waltz theme which ends with a glissando in the cello. The meter dissolves as Manuela returns us to the lesson and a reprise of the opening section. Light and dark, lightness and heaviness are effective combined.Awremele un josele (i.e little Abraham and little Joseph) gives us a story about skipping school. Josele wants to skip, but Awremele is pious and does not want to miss any instruction. The two debate the issue and then part their ways: Awremele to school and Josele to the fields. This piece has a swing feel to it. Manuela is supported by a walking "bass" on the cello with the accordion once again providing the harmony and rhythm. Manuela's beautifully clear voice is in the foreground. This piece mixes meters. It opens in a rather free meter and then settles into 5/4 with the cello providing a solid foundation for the 5/4. In fact, what Ludger does with the cello reminds me of Dave Brubeck's piano in Take 5. The meter then changes to 6/4 as Manuela begins a playful scat in rhythmic union with the cello and accordion. We return to 5/4 with the cello repeating its previous motif and the accordion in the background while Manuela continues her scat. The accordion then picks up the cello's motif while Ludger presents a wonderful improvisation on bowed cello. They then return to the 6/4 unified voice, cello, and accordion and finally leave meter behind returning to a short reprise of the initial theme. In a word, this piece is brilliant!Kinderjorn (childhood years). An old man looks back on his life. The carefree days of youth are gone. Sadness and melancholy have taken their place. The accordion begins this piece with a simple and recurring motif in a very measured 4/4 that sets the stage for the old man's monochromatic life. Manuela then tells the sad story. An accordion solo interlude follows using a very simple bass line (no chords) and a simple and forlorn melody based on a variation of the main melody. The piece ends with a lone whistler who fades into the distance. The cello remains silent throughout the piece.Schmidt handling his cello like a guitar sets the stage for a flamingo-esque flavor in Unter di grinike bojmelech (beneath the green trees)--a song of children playing in innocence. With the cello providing the rhythmic pulse, accordion and voice trade flights of fantasy. This fanciful piece gives way to Jisrolek--a tale of a tradesman in the ghetto who struggles to eke out a living while hungry, lonely, and sad. All that remains is his pride. We are introduced to this tale by a plaintive call from the cello in a klezmer style. Manuela follows reciting a portion of the story and then breaks into the song. Ensemble Draj uses several different styles in this one piece not the least is a very impressive jazz duet between the cello and accordion. As in earlier pieces, several different meters are used in order to bring this "drama" to life. Papir is doch wajss (but paper is white) takes us back to the Renaissance. Papir is a story of young love ("just as paper is white and ink is black, my heart is yours alone"). The voice, cello, and accordion work in independent lines creating delightful polyphony reminiscent of music from the Renaissance. Schlof, majn feijgele (sleep, my little bird) begins as a slow and melancholy duet between cello and accordion and then breaks into a rather raucous dance with the entry of Manuela. Before a reprise of a jingele, a mejdele (this time with Ludger and Ralf joining Manuela), Ensemble Draj gives us ballade funm hajsl (the ballad of a cottage)--a sad story of lose. A father lives with his daughter in the deep woods near a lake. The daughter sees her reflection in the water, reaches for it, and drowns. Alternating between solo voice, duets, and trio we enter the drama of the drowned daughter. The piece ends with an eerie feel as the accordion plays clusters using the upper treble piccolo reeds and Manuela intones the last phrases of the story. As with earlier pieces, Ensemble Draj make effective use of meter to present the story. In should be noted that in the last piece, a jingele, a mejdele, Ludger and Ralf break into a very impressive jazz improvisation which temporary breaks completely with the melody and then abruptly and effortlessly returns to the main theme. Thus the album ends very playfully -- one could say ecstatically!I find this CD captivating. The level of musicianship is outstanding. Ensemble Draj have very creatively and effectively blended several different styles to tell stories that reflect the struggle and joy of life that is forced to live within predetermined boundaries. Kaupenjohann and Schmidt have done some excellent work arranging these pieces. The effective way that Ensemble Draj combines styles reminds me of The Tin Hat Trio--another small ensemble that includes accordion and that experiments with multiple styles. The only criticism that I have does not regard the music, but rather the marketing. The CD that I received did not have an English translation for the program notes and lyrics. While there is a short English synopsis for each piece, I would have preferred to read a translation of the lyrics. I found the program notes for the album on the Internet through a Google search and I had Google do its quite literal translation. Although the Google translation gave me the overall sense of the notes, I would prefer to have a good English translation provided.
Shona Holmes
Feb., 27, 2007
Shona Holmes - Accordionist/Conductor/Teacher
Shona Holmes  ABCA(TD) LBCA
 
Born in 1963 she began accordion lessons at the age of 9 years thanks to the encouragement of her accordionist mother Aileen Holmes (formerly Shand) who played in Scottish Dance Bands in Aberdeen in the 1950’s. Living in Harwich, Essex studied under Pearl Watson ABCA(TD) from 1973-1988.  During that time Shona won many prizes at National and Regional Competitions, becoming runner-up at the "Accordion Times Festival" in Leicester in 1985, as well as at the NAO UK Championships (Advanced Solo) in 1984,1986 & 1987.  With her duet partner Susan Gosling they became the UK Premier Duet Champions in 1986.

Shona worked her way through all the grades of the British College of Accordionists - Practical, Theory & Duet Exams and followed these up with the Associate and Licentiate Diplomas in 1986. 

The same year she was invited onto the Teachers Advisory Council of the British College of Accordionists and the Board of Governors of the National Accordion Organisation. From 1988-1993 Shona held various posts within the NAO Executive including Festival Headquarters and Trophy Manager.

One of her main loves is orchestral playing and joined her first orchestra the "Pearl Foote Accordion Orchestra Junior Band "  in 1973 and quickly progressed to the Senior Band in 1975. When Shona moved from Harwich to Watford she was invited to become the Leader of the East Surrey Accordion Society in 1989-1993 under the Baton of Graham Romani.

Shona formed her own music school in 1990, " Watford Accordion School " (formerly Holmes-Bodell Musicians) and since that time has guided many of her pupils successfully through preparation for competitions, examinations & concerts.
Shona has been the local representative of the "British College of Accordionists" since 1991 and organises the examinations for the Watford Centre.

Shona now concentrates her time in juggling family life with running "Watford Accordion School & Band" and also findstime to perform in a barndance & ceilidh band.
Contact Information as follows:-
Owen Murray
Feb., 27, 2007
On  January 15th, an evening concert with Owen Murray is scheduled including a performance of ‘Seven words’ for bayan, violoncello and chamber orchestra.
Friedrich Lips will perform Gubaidulina's concert ‘Under the sign of Scorpio’, with the BBC SymphonyOrchestra - V.Gergie, conductor, at the Barbican Centre, London on January 14th, at 8pm. On the following two days,Friedrich Lips will also have a master class at the Royal Academy of Music in London, which will be dedicated first of all to the works of Sofia Gubaidulina who may also attend this event.
Royal Academy of Music
Marylebone Road
London NW1 5HT
Tel. 0044 (0)207 873 7373
Tel. 0044 (O)207 873 7381 (direct line)
Fax 0044 (O)207 873 7374
e-mail 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
Egidio Spadaccini (Sussex)
Feb., 27, 2007
Egidio Spadaccini
Egidio Spadaccini
(A star accordion performer at the monthly Guildford Accordion Club)
Egidio was honoured recently to be selected to perform in the Horsham Bandstand from those musicians
who had played earlier in the day in the Forum in Horsham's first Folk/Arts Festival.
The Horsham Festival was held to raise awareness of the proposal to make
the old Town Hall into a Community Arts Centre.
Red Hot & Blonde
Feb., 27, 2007
Red Hot & Blondeare a unique and dynamic trio who inject jazz, razamatazz and crazy comedy into their toe-tapping tunes. Since forming Red Hot & Blonde in 1999, 
Lynda Styne, AndyEastwood & Janet Beale
 have been very much in demand for corporate functions and parties,
and they released their debut album Running Wild in 2002.
Gary is to the Accordion what David Beckham is to Football !
Feb., 27, 2007
Meet the modest dad-of-two from Renfrew whose talents have made him one of the worlds’ most famous musiciansFOR a man who has been immortalised as a musical legend, rubbed shoulders with Royalty and film stars and headlined festivals across the globe, Gary Blair is a shockingly modest man.“I suppose you just never see yourself as one of the very best, even when people you admire are telling you so,” he said, sitting in his home, cluttered by gleaming trophies.“The cast of my hand has been placed in a wall in Italy with the 60 greatest accordionists of all time and two years ago I was one of three players in the world to receive an honour from the world governing body.“But every single time I receive an award I’m gobsmacked – honestly shocked.”
Please click the link below to view Gary's online photo album!  
Whether he believes it or not, Gary is a world class accordion player, known for his talent in more countries than he’d care to mention.He practices, teaches and plays with the nine valued instruments in his collection, including a custom made £6,500 accordion which was given to him as a present from an Italian manufacturer.The globe-trotting father of two, who lives in Renfrew, caught the bug at the tender age of eight, as he watched his famous dad, Jimmy, perform weekly on popular Scottish TV show Jigtime back in the 60s.As Jimmy Blair and the Scotia Players strutted their stuff on the box in the corner of the living room, Gary’s young mind was plotting dreams of his own.At 46 years old, he now admits there’s little else for him to achieve with his beloved accordion in his arms.He enrolled in his father’s music school and practiced nightly before entering his first major competitions as a teenager.At 13 he was playing at clubhouses on Paisley Road West for visiting high-spirited highlanders who “were quick to tell you if you weren’t good enough or had done something wrong” after pubs had closed at night.With the double whammy of contrasting learning curves Gary was quick to rise from the local scene and gain recognition at a national level.By 17 he was crowned the UK accordion champion with medals in the classic, traditional and polka sections, and lifted the sought-after Bell Trophy.A blossoming career in teaching music to young students put an end to Gary’s competing days.He joked: “It just didn’t look right to have a teacher and his pupils entering into competitions, so I backed out before I got beat!“Anyway, it was taking a year just to learn the classical pieces by heart before paying them in competition so it was good to free up time to learn some more continental classics.“Accordionists usually give up competing by their early 20s anyway, so I just stopped a little sooner.”As his reputation grew, so did the prestige of the shows Gary was invited to. However, as he has found out throughout his glittering career, some events are best left well alone.He said: “My band was invited over to the Cannes Film Festival in France to play a promotional gig for a Scottish movie that was being shown but it turned out to be a nightmare.“All the big actors where there but if you weren’t a film director in that industry, they just weren’t interested.“The only good thing about that trip was the fact that we were paid in bottles of whisky. They gave us six bottles each but we weren’t allowed to bring it back into the United Kingdom at that time so we gave bottles to the taxi driver, chamber maid, receptionist and obviously had a couple ourselves – it was a lot of fun.“After that I did the Scottish BAFTA awards for a couple of years and then the British BAFTA awards came to Scotland as well.“Princess Anne and the entire casts from EastEnders, Coronation Street, Emmerdale and all those other soaps were all in the audience but it never matters to me if there’s one person or 25,000 people there, I just enjoy playing.”Major tours of America, Germany, Holland, Italy, Belgium, Iceland, Dubai, four T In The Park festival shows and a New Year special at George Square, Glasgow, in front of 25,000 frozen revellers have all cemented Gary’s position as one of the world’s greatest accordion players.But it’s the memories of the globe’s biggest accordion music gathering in Quebec, Canada, which he recalls as his favourite times playing live.He added: “Headlining in Las Vegas with a guy from the Jay Leno show trying to take the mickey out of me, or collecting my small envelope of cash at T In The Park, in line between the likes of Oasis and Travis who are getting suitcases of cash stand out as funny moments in my career.“But playing at the Montemangey Festival in Quebec is truly a great, great honour.“The world’s finest players are lucky to be asked to play once and I have somehow managed to get an invite twice – a third time would be incredible.”The jovial dad has vowed to continue playing live and teaching the accordion to young upstarts, including his own son, also Gary, who has already started picking up trophies at national level.
Marcosignori , Gary Blair and Danille Ravaglia.
As well as having his hand print cast in stone in the birthplace of the accordion, Italy, Gary also proudly boasts a prestigious “Honoured Friend to the Accordion” salver awarded by the world governing body CIA.He is only one of three players ever to receive such an award.“At one show I did, the promoter put in the programme that ‘Gary Blair is to the accordion what David Beckham is to football,” he recalled.“I thought it was a lot of nonsense myself!”http://entertainment.webshots.com/photo/160981246/1160987744057278017JuzlxS
Club Accord February 2007 Newsletter
Feb., 27, 2007
Our first guest of 2007 was John Romero from Eastbourne, who certainly livened up the evening with some very interesting music. It was a complete change from the normal sounds that we hear at the club. He showed us just what wonderful things the accordion is capable of nowadays, a complete orchestra, all on its own.The evening began with Tracey playing some nice Jigs and Polkas and then "Carte Postale." This led straight into our guest John, who began by playing his acoustic accordion with some fine pieces including "Lolita"- a Spanish waltz "Mariouska" and three French waltz pieces, "Under Paris Skies" and "Under the Bridges of Paris," rounded off with "The Maigret Theme" (this medley being his own arrangement). John then explained all about his marvellous personalised midi accordion, a completely new concept of equipping out an accordion by using optical sensing electronics within the accordion. This special midi rig allows not only for initial and after touch but the ability to change the tonal characteristics of the notes played from the keyboard. It was interesting to know that none of his music was pre-recorded. He entertained us with pieces in a Mantovani style with versions of "Limelight," "Charmaine" and "Edelweiss" and other easy listening standards such as Richard Clayderman's "Ballade Pour Adelaine."He also delved into Eighties pop classics such as Jean Michel Jarre's "Oxygene" and back to Latin standards like "Return to Me" and "I will wait for you," yet another complete contrast finished the first half with "Bridge over the River Kwai." Now midi is not everyone's cup of tea, but its good to hear a variety.During the interval Alf played two nice tunes and was followed by Neil who played a Scottish Hornpipe, a Strathspey and a March. Terry charmed us with "Radetzky March","Amapola" and "I'll Stay with You." Andy was next with "A Hundred Pipers" and a folk song. Finally it was the turn of Ingrid and Richard to play "Libainlea"and "La Cumparsita."John began the second half using "organ" sounds with a few singalongs including a Flannagan and Allen song "Underneath the Arches" which the audience enjoyed singing along to. Then came a beautiful modern piece - "The Wind Beneath my Wings." A rendition of "River Dance" followed. This started with "Lament for Matthew" a piece he wrote himself and led to the main" The Lord of the Dance Theme" Also included in the second set was a truly amazing version of "The Dr Who Theme" and the night was finished off with a major arrangement of "The Dark Isle." Bravo!! It was an extremely entertaining evening!!Being a professional organist/keyboard player, John understands the full capabilities of midi, splitting keyboards into several parts with the lower or upper parts playing single notes of one instrument and chords or single notes of other instruments underneath or above. He also made use of organ/keyboard specialities such as pre-programmed musical patterns based on the chords, or keys you press. This included with rhythmic drum patterns provides endless possibilities, well worth the very highly expensive setup. I doubt that other superb accordionists who are also aufay with an organ/keyboard to the same extent as John could obtain such an excellent use of the full midi possibilities of his setup.Next month we are at a different venue for one month only. Just 1.5 miles down the road, the DDS&S Club at Bromsgrove, with free parking at the back, pay parking at the front. Go in the club up 6 steps and turn left into the large concert room - please come and sit close up! We have another great Entertainer in the Jersey Professional - Steve Roxton who entertains most nights of the week at various hotels in and around St. Helier. Don't forget to bring your accordions along to entertain the "crowd" during the interval, or at the start of the evening.
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