This tune also appears in "Wee Sing - More Bible Songs" as "Father Noah" with different lyrics by Nancy Klein set to the same Swedish melody. I like variations because they permit the musician some creative potential in which to rearrange musical elements and present new ways of hearing familiar songs. This Hohner musette accordion allows for a wide variety of different reed voices to change the atmosphere, tempo and texture of each variation. Until recently I have not had access to a local pipe organ, but I would like to hear similar variations on that instrument as well. One of the strengths of the Hohner is the richness of the bassoon register which permits almost a Jazz-like flavor to the music. The musette tuning is especially popular in Europe and Latin America as well as in American folk music.
Variations on a Swedish tune entitled "Christmas Day," from "Wee Sing for Christmas," published by Price, Stern, Sloan and collected and arranged by Pamela Conn Beall and Susan Hagen Nipp. I have added some improvisational elements to these variations, in both tempo and melodic line, allowing for an eclectic mix of styles and expressive moods. Performed upon the Hohner musette accordion, a 4/5 reed instrument in LMMM configuration.
This tune also appears in "Wee Sing - More Bible Songs" as "Father Noah" with different lyrics by Nancy Klein set to the same Swedish melody. I like variations because they permit the musician some creative potential in which to rearrange musical elements and present new ways of hearing familiar songs. This Hohner musette accordion allows for a wide variety of different reed voices to change the atmosphere, tempo and texture of each variation. Until recently I have not had access to a local pipe organ, but I would like to hear similar variations on that instrument as well. One of the strengths of the Hohner is the richness of the bassoon register which permits almost a Jazz-like flavor to the music. The musette tuning is especially popular in Europe and Latin America as well as in American folk music.
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This American song is a memorial tribute to President Abraham Lincoln (1809-1865), with words written by Edwin S. Babbitt and music composed by L. B. Miller. Originally published in 1865 by Root & Cady in Chicago and marked "Quartette," for mixed voices (4 parts) with piano. The sheet music I am using is published by Hal Leonard under the title "A Treasury of Civil War Songs: 25 Songs of the Union and the Confederacy," collected, edited and arranged by folksinger Tom Glazer. Performed upon my vintage 1930's Hohner Regina VI accordion, a 4/5 reed instrument in LMMM configuration.
Folksinger Tom Glazer (1914-2003) collected many Civil War era songs and published them under the title "A Treasury of Civil War Songs: 25 Songs of the Union and the Confederacy," issued in 1996 through Hal Leonard. From this collection I found the haunting hymn-like tune entitled "The President's Grave," with words by Edwin S. Babbitt and music by L. B. Miller. I love vintage accordions and find that they often impart a culturally rich resonance to songs of a bygone era, helping modern ears to hear anew historical treasures which may have inherently special character. This tune is written in the key of E flat major, with some chords in G minor and F diminished, under the notation to play the song "Solemnly." The reeds on this particular Hohner sound very much at home in this key, lending a sense of noble purpose and reflective solemnity as the music draws us closer to the heroic life and tragic death of President Lincoln. There are certain sounds and tonalities heard on a vintage accordion which seem to accentuate the resonances of the music as it is written and received, especially when the subject matter is as historically powerful and significant as this truly remarkable song. The hat I'm wearing is a reproduction of a Union Officer's kepi with the military rank of either Captain or Major, made of dark blue wool and lined with cotton and leather. The gold stripes and overall form of the hat's shape are derived from the French pattern, often seen in the French Army and the French Foreign Legion. This particular kepi was procured via eBay from a store called "Under the Southern Cross," maintained by owner/ proprietor Finandel. A traditional folksong played upon my vintage Hohner Tango II M accordion, a 3/5 reed instrument in LMM configuration. Words and music by William Douglas and Lady John Douglas Scott, written in 1685. The sheet music is from the Folksong Fake Book published by Hal Leonard. This song appears in the 1945 film "A Tree Grows in Brooklyn" (Lazos Humanos), directed by Elia Kazan. James Dunn (as Johnny Nolan) sings this song and plays an upright piano for Dorothy McGuire (as Katie Nolan), while Peggy Ann Garner (as Francie) and Ted Donaldson (as Neeley Nolan) look on. Other notable players in this film include Joan Blondell as Aunt Sissy, Lloyd Nolan as Officer McShane, and James Gleason as McGarrity. The story takes place in Brooklyn in the year 1900 and is superbly directed and photographed with superlative performances by the entire cast.
Hohner produced the Tango model between 1953 and 1961. It has a very strong wooden frame and distinctive German reeds. It is lightweight enough to allow the player to stroll with the instrument, especially at a restaurant or wedding or public gathering. This design features 34 treble keys and 96 bass buttons, somewhat smaller than the typical 41/ 120 treble key and bass button configuration. This Hohner features a rather sweet sound on traditional folk music and is versatile enough to play just about any genre of music from contemporary to Classical. The scene where Johnny Nolan sings this song to Katie Nolan (James Dunn and Dorothy McGuire in "A Tree Grows in Brooklyn") remains one of the most dramatically moving moments in this 1945 Elia Kazan film. All of the players in this film offer superlative performances, especially James Dunn who won an Oscar for his memorable portrayal of an imaginative artist and loving husband struggling to provide for his family. Equally impressive in their respective roles are Dorothy McGuire and Peggy Ann Garner as well as the rest of the cast. One feels the anguish of the artist's soul as Johnny pours out the poetry of his spirit in "Annie Laurie," reaching for the beauty and release of the gift of music in a moment etched in time. This Russian folksong pays tribute to the life of Stepan (Sten'ka) Timofeyevich Razin (1630-1671), a Cossack leader who revolted against wealthy nobility. Alexander Glazunov composed a symphonic poem to celebrate Razin's colorful history, and Dimitri Shostakovich composed a cantata upon this subject matter. Vasily Shukshin wrote a popular novel entitled "I Have Come to Give You Freedom" based upon the events of Razin's adventurous life. A popular folksong entitled "Ponizovaya Volnitsa" remembers Razin's legendary times, with the words "Volga, Volga mat' rodnaya," written by Dmitri Sadovnikov in 1883.
A film was produced in 1908 entitled "Stenka Razin," directed by Vladimir Romashkov, featuring a screenplay by Vasily Goncharov and music by Mikhail Ippolitov-Ivanov. Performed upon my vintage 1950's Galanti accordion, a 4/5 reed instrument in LMMH configuration. The bassoon reeds are in the single tone chamber. Although the Galanti company ceased production of accordions many years ago, they now produce pipe organs worldwide under the name Ahlborn-Galanti. Many thanks to my friend Max for his enthusiasm for Galanti accordions. Without Max's help I would not have found this very beautiful instrument nor fully appreciated the legendary qualities of this venerable brand. I love the beautiful Italian reeds of this vintage Galanti and also the wonderfully shaped ergonomic design which allows the instrument to be played for hours at a time without fatigue or stress. I am not sure of the exact date of manufacture of this accordion, but I have seen similar models advertised in 1948, 1949 and through the early 1950's. Wedding Dance - Good Luck to the Bride and Groom A traditional Jewish song arranged by accordionist, scholar and teacher Elsie M. Bennett (nee Blum), published by Pietro Deiro Publications in New York City. The title of this collection is "Hebrew and Jewish Songs and Dances, Volume One," with all of the selections compiled and arranged by Elsie Bennett, recipient of a Master of Arts degree from Columbia University Teachers College (New York) and a Music Bachelors degree from Wayne University in Detroit. This song is also spelled "Choson Kale Mazel Tov," or "Good Luck to the Bride and Groom." Henry Lefkowitch of Metro Music Company and Harry Coopersmith of the Jewish Education Committee of New York also helped in the compilation of this music collection, with Ester Youlous and Ester Golbert assisting in editing of the text. Performed upon my vintage 1950's Hohner Tango II M accordion, a 3/5 reed instrument in LMM configuration. Although I have never been married, I think that this song would be a lovely addition to any festive wedding celebration. Hohner produced this model between 1953 and 1961. It is a fairly lightweight accordion but with a very strong wooden frame. The reeds feature that distinctive Hohner sound with a nice range of treble voices and a very deep bass section. Of the nine treble registers four are repeats, giving five different treble sounds. The bass features three different registers with an especially powerful master switch. You can stroll with this accordion because of the manageable weight, allowing the player to entertain guests at a restaurant, public gathering, wedding or special event. This accordion sounds perfectly at home with European melodies, Latin American styles and traditional American folk songs, as well as being versatile enough for Classical music, contemporary music and improvisation. Accordion Impressions: Along a Country Road An improvisation reflecting upon memories of a day hike along Possumtown Road in Piscataway Township, New Jersey in 1958 or 1959. My friend Bobby and I were Cub Scouts invited by the local Scoutmaster to attend a day hike with about 8 or 10 other Scouts along one of the country roads in rural New Jersey. We started out early in the morning on either a sunny Spring or Summer's day, traveling south to Cedar Avenue by crossing the railroad tracks of the Jersey Central and Erie Lackawanna lines and following the rural road to Possumtown Road where we began to travel eastwards along a two-lane country road heavily surrounded by densely wooded forests. It was a clear and breath-taking morning, dotted with wonderfully colorful scenes and crisp aromas of the country outdoors. We walked beneath a railroad overpass made of stone and steel and then continued our adventurous trek down this lovely country lane. Here and there were simple fields dotted with wildflowers, filled with butterflies, sometimes adjacent to crops and rows of tall corn bordered by tall weeds and the tangles of nature. We took great delight in the fabulous adventure of the day, enjoying the sights, sometimes slowing our pace to take in the abundant details spread so enchantingly before our impressionable eyes and senses. Across from an old stone house, someone had tied a small goat to a metal post. The little fellow greeted us with warm affection and we tarried just a moment to pet him and admire his quaint hideaway tucked next to the verdant wilderness. Somewhere down along the road, our leader asked us to pause and find a place to eat our lunches in the vicinity of a beautifully still pond strewn with rocks and green ferns. We took a well-deserved rest and enjoyed our hand-packed lunches, admiring the quiet stream and feeling the full nourishment of both the food and the spirit of the moment. When the time came to leave, we headed back the same way we had entered this lyrical domain, looking forward to begin our trek homewards and to share our adventures with our respective families. Today this area has been substantially changed, although Possumtown Road is still there in a four-lane version with a small length of the original two-lane design left in place. Now the vicinity is populated by light industrial buildings, commercial factories, parking lots and condominiums, all bordered by the fast-moving freeway known as Highway 287. There are some thickly wooded pockets of forest still situated along Possumtown Road, along with the remnants of a small pond and a nicely landscaped park. But the two-lane country road which we once traversed has been radically altered, probably no longer to be recognized through modern eyes.
Program notes: The opening theme begins at 00:14 and is quickly followed by a development section, continuing with still more development at 00:52 and the shift to stronger bass and a stirring sense of majesty at 01:26. The full master register sounds at 02:00 with a brief coda at 02:22. At 02:23 a quieter episode begins with the bassoon register, then the clarinet register at 02:44, leading to another quiet closing figure at 03:06. At 03:08 the violin register speaks, then the musette voice and a repeated development section. Further development takes place at 03:51, with the bassoon register bringing forth the lower notes in the treble section at 04:07 and a "walking bass" phrase displayed via the bass section. At 04:25 an introspective portion ascends to the fore, with the full master again introducing the original theme and development at 04:40. At 05:03 there is an impressionistic portrayal of climbing notes, as if one is reaching, walking, dreaming and marching all in continuous order. The ending portion begins at 05:21 with the closing chord heard at 05:31 until the final sounds fade away. Performed upon my vintage 1950's Scandalli accordion, a 4/5 reed instrument in LMMH configuration. The keyboard length is 17 inches. This accordion was given to me as a gift from friends around the year 2000. USA and Canada Copyright Disclaimer Under Section 107 of the Copyright Act of 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. This video is made solely for the purpose of study, review or critical analysis purposes only. I call this "Painting with Reeds" because I love the evocative sounds of these vintage Italian reeds. In the same way an artist would paint with a full range of impressionistic colors or in an impressionistic style, I find that the reed voices of a good accordion are capable of creating an atmospheric environment readily descriptive of an event, a person, a time, a mood, a specific setting or a range of ideas. Visiting the Cathedral of the Holy Trinity at Gibraltar I spent some quiet time admiring the architecture of this very beautiful Cathedral in August of 2001. No one else was there except a few members of the Clergy. As streams of brilliant light poured in through the remarkably shaped windows, my eyes traced the open forms of the arches high above and fell upon the manifold decorative accents located throughout the building. This particular photograph gives another view of the ornate pipe organ just above the entrance to the Cathedral, showcasing some of the magnificent detail and rich hues of the casework and pipes. The colors and shapes are magnified by rows of flags which accent the sides of the main sanctuary. One notices the memorable effects of light and shadow in a space such as this, with the high ceiling providing a natural reflection towards Heaven and an attendant call to prayer.
Visiting the Cathedral of the Holy Trinity at Gibraltar The pipe organ sits above the entrance to the Cathedral and provides a very decorative counterpoint to the magnificent walls and stately white columns. The organ case is comprised of dark wood fitted with colorful organ pipes painted in blue, turquoise and gold hues, adding immensely to the exotic charm of the interior. High above are soaring arches which catch the eye and blend smooth forms with the light-filled atmosphere provided by the large windows. There are neat blends of colors from ivory, pure white, light gray, cream and gold interwoven with the dark wood benches and a noble array of colorful flags and festive banners along the sides of the main sanctuary. I spent some time here admiring the beauty and serenity of this lovely Cathedral, thinking about the history of Gibraltar and beginning to fathom the longevity of both this building and King's Chapel just a short distance away. It was a supremely quiet day, filled with marvelous introspection and grand respect for local custom and culture.
A Visit to the Cathedral of the Holy Trinity at Gibraltar In August of 2001 I visited Gibraltar and managed to spend some time at both King's Chapel and the Cathedral of the Holy Trinity. The official title of the cathedral is "The Cathedral for the Church of England Diocese of Gibraltar in Europe." This magnificent structure displays the prominent influence of Moorish revival architecture, exhibiting "horseshoe arches," splendid decorative elements and very beautiful columns. Originally, King's Chapel was set aside primarily for use by the military, so it was thought prudent to erect a new house of worship for the civilian sector of the local population. Work began on the cathedral in 1825, reaching completion in 1832, with the building consecrated in 1838 and assigned cathedral status in 1842. The building sustained significant damage in April 1951 when the RFA Bedenham accidentally exploded in Gibraltar harbor. The RFA Bedenham was a Naval armament carrier which was offloading depth charges to a smaller craft when one of the depth charges ignited, causing a fire which spread and caused a violent explosion. Both King's Chapel and the Cathedral have been restored and are today in an excellent state of preservation.
A Visit to King's Chapel at Gibraltar, August 2001 I spent 30 to 45 minutes in the splendor of King's Chapel, admiring the spectacular architecture and observing all of the marvelously decorative elements in this very beautiful place of worship. One can almost feel the pulse of history which courses through these glorious surroundings, as if in one moment one may envision the many years of service provided in this remarkable space. As the building was badly damaged during the Great Siege of Gibraltar from 1779 to 1783, it is a wonder that these walls and ceilings have not only survived but also been the dedicated object of considerable renewal, preservation and restoration. During my visit here I was not disturbed by anyone and spent the entire time in quiet repose and methodical thought, glad of my opportunity to see this Chapel in person and to glean its importance in the history of Gibraltar, its people and its cultural surroundings.
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