An accordionist's blog on music, art & life

In Dulci Jubilo performed upon the Hohner Musette accordion

12/26/2014

A Latin Carol and German melody performed upon my Hohner Musette accordion, a 4/5 reed instrument in LMMM configuration. Published by Edition Melodie, Anton Peterer Music & Books, Zurich, Switzerland. The title of this volume is "Weihnachten mit meinem Akkordeon," with all selections collected and arranged by Heinz Dunker.

I believe that John Rutter has performed this melody with his Cambridge Singers on one of his popular Christmas albums. This is a favorite song at this time of year and often appears in local choral concerts as one of the highlights of the afternoon or evening December concerts. In Arizona both the Phoenix Chorale (formerly known as the Phoenix Bach Choir) and the Sonoran Desert Chorale have performed this composition, sometimes with organ or other instrumental accompaniment. Here I have used the bass section of the accordion as a musical drone, imitating the sound of a hurdy-gurdy or a basso continuo instrument. This composition sounds especially atmospheric when performed upon a pipe organ in a reverberant church or large concert hall.

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An Improvisation Upon the Vintage Hohner Regina VI

10/1/2014

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An improvisation upon the theme of hiking in Arizona while exploring a canyon north of Tortilla Flat. Many years ago a friend revealed this site to me as we traversed the entire length and breadth of this natural corridor along the desert landscape. I would guess that the entire length of the canyon is several thousand feet, bordered by sheer walls which must ascend up to 400 or 500 feet. It had rained days before we made our journey and we discovered small rivulets of cool water which could barely be called a stream, lined with yellow-green lichen and moss, meandering through the floor of the canyon. There were pools of dark water which reflected the brilliant orange sunlight from above, giant boulders which you had to jump across, and an impression of ancient permanence in the majesty of this place. I recalled the mysterious beauty of Claude Debussy's "The Sunken Cathedral" as we hiked along the vast corridor stretched out before us. The area toward the south of the canyon opens up and allows a more spacious view of the surrounding desert landscape. When you climb back up toward the roadway above and then look down to see where you have been, you almost cannot believe the extraordinary depth and size of this area. It is truly a breathtaking journey well worth the time and effort it takes to fully explore this magnificent environment.

Performed upon my vintage 1930's Hohner Regina VI accordion, a 4/5 reed instrument in LMMM configuration. Two previous videos have featured improvisations which explore impressionistic themes associated with this canyon. "Lyric Poem for Accordion" posted 2/6/2014 with my vintage Iorio (video length 8:34) and "Fanfares & Reveries for Vintage Hohner" posted 9/13/2011 (video length 5:08)

This video provides another example of what I call "painting with reeds" or imagining space, form, line, rhythm and color via the impressionistic music of a vintage accordion. Arizona is a special place for outdoor adventures including hiking, sightseeing and day-trips. Years ago I was brought face to face with an extraordinary canyon just north of Tortilla Flat, Arizona. A friend who once worked as a Forest Ranger showed me this location and we spent the entire day exploring the majesty of the Arizona landscape. Improvisation gives the musician an opportunity to record feelings and impressions which may otherwise be inexpressible or unsearchable. In this music I am recording both the majesty and the wonder of this remarkable area, utilizing the reeds of the instrument as my orchestra. There is often a pulse or breath of life which animates the scenery and vistas of a particular location, a sense of Divine handiwork which captures our imagination and may hold our interest for hours or days afterwards. In this case, I am remembering the vast perspectives and colorful details as seen from both below and above the canyon's corridors, as if the entire picture could be displayed via the textures and phrases of music. Manufactured in 1938, the Hohner Regina VI features a unique sonic signature which often reminds me of the power and characteristic versatility of a large pipe organ. I owe a debt of gratitude to my friend Jerry who tuned and restored this instrument, replacing worn parts and adjusting the inner mechanism to achieve remarkable results. Here is a 76 year old instrument which still speaks in a rather poetic and artistic manner, allowing the musician to "paint" via a set of extraordinary German reeds, providing a picture which remains indelibly etched in one's visual, tactile and sonic memory.

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A Memorial Tribute to President Abraham Lincoln (1865)

9/22/2014

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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.

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A German Folksong on the Vintage Hohner Regina VI (1938)

9/13/2014

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A German folksong performed upon my vintage 1938 Hohner Regina VI accordion, a 4/5 reed instrument in LMMM configuration. The sheet music is published by Edition Melodie in a songbook entitled "Das Grosse Akkordeon-Buch - Volume Three" (Le Grand Album pour l'Accordeon), Anton Peterer Music & Books, Zurich, Switzerland. All of the songs in this collection have been arranged by Herwig Peychaer.

This 1930's vintage Hohner accordion features some very distinctive treble sounds and possesses quite a powerful bass section, even though it is a relatively small instrument with a petite 16 inch keyboard. Internally the accordion displays a very strong wooden frame with good workmanship on the reed-blocks and those remarkable German reeds. My friend Jerry tuned the instrument, provided new wax and leathers, and adjusted the bass mechanism as well as the treble keyboard. Without Jerry's help this instrument would not have been playable. European folk-songs often sound so completely at home on a good vintage accordion such as this one. The external appearance of this instrument is still in remarkably fine condition, featuring a beautiful ivory/cream color, ornate black lettering and decorative details, exhibiting an extraordinary mother-of-pearl keyboard and suffering almost no scratches or missing pieces of exterior trim. The grill section above the keyboard is embedded with sparkling accents of various exotic hues and features superlative carving of the materials used in manufacture at that time. In many respects I prefer the sound of the 1930's accordions to the more modern instruments which came later. One professional accordionist once described such vintage instruments as sounding more like a large harmonica than a typical accordion. That's true, for the timbres sound so alive and thrilling that one might temporarily believe the musician is indeed playing...."a glorified harmonica!"

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A Traditional Irish Folk Song on the Vintage Scandalli

9/13/2014

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This traditional Irish folk song is also known as "Cockles & Mussels," or under the title "In Dublin's Fair City." It was first published in 1883 at Cambridge, Massachusetts, but the song may be of earlier origin. This song is featured on the soundtrack for the notable film "A Tree Grows In Brooklyn," directed by Elia Kazan and released in 1945, also known as "Lazos Humanos." In that film, James Dunn plays Johnny Nolan who sings and plays the piano in a touching and memorable scene. As Johnny sings for Francie (Peggy Ann Garner) and Katie (Dorothy McGuire) and Neeley, one can feel the passion of the artist who offers up portions of his soul as he shares his talent with others.

Performed on my vintage Scandalli accordion, an instrument from the 1950's still capable of touching hearts and influencing modern minds.

This Scandalli is one of my favorite accordions, sounding good on folk music, Classical compositions, popular tunes and improvisation. The reeds are of very high quality, probably handmade and mounted on beautiful reed-blocks which exhibit great Italian craftsmanship. This tune appears in Elia Kazan's film "A Tree Grows in Brooklyn" as Johnny Nolan walks to and from his apartment in turn-of-the-Century urban America (circa 1900). James Dunn won an Academy Award for his sensitive portrayal of the life and relationships of Johnny Nolan, and Peggy Ann Garner won an Academy Juvenile Award for her dramatic portrayal of Johnny's beautiful daughter Francie.

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Annie Laurie on the Vintage Hohner Tango II M Accordion

8/27/2014

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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.

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A Russian Folksong on the Vintage Galanti Accordion

8/25/2014

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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.

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A Traditional Jewish Song on the Vintage Hohner Accordion

8/17/2014

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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.

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Painting with Reeds - an improvisation upon the Scandalli

8/15/2014

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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.

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A Sea Shanty on the Vintage Patti Brothers Accordion

7/31/2014

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This accordion has 3/5 reeds in LMM configuration, with the typical 41 treble keys and 120 bass buttons (in Stradella pattern). Patti Brothers accordions were made in Italy by Lo Duca, with the US headquarters based in Milwaukee. This particular accordion exhibits a remarkable baby blue color along with a rather petite 16 inch keyboard. I love the tones and treble registers of this accordion, a testament to the high quality of the tuning and design of those fabulous Italian reeds. This instrument is light enough in weight that you could easily stroll with it, as if you were serenading the guests at a wedding party or atmospheric restaurant. The sheet music for this Sea Shanty is from Volume Two of "Das Grosse Akkordeon-Buch" (Le Grand Album pour l'Accordeon), published by Edition Melodie, Anton Peterer Music & Books, Zurich, Switzerland. All of the four volumes in this series of books have been collected and arranged by Herwig Peychaer.

The Hat
The hat I am wearing is a reproduction of a Naval hat worn by sailors in both the Northern and Southern Navies during the American Civil War (1861-1865). This item was purchased from Port Columbus, the National Civil War Naval Museum in Columbus, Georgia. Port Columbus is a sensational source of historical information, books & CD's, authentic reproduction uniforms of the period, marvelous gifts, ironclad ship models, and superb pieces of china for the setting table. The Museum features Living History re-enactments with authentically clothed soldiers, sailors and civilians of the Civil War era. It is an award-winning resource for history buffs and Civil War enthusiasts of every age.

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<<Previous

In Dulci Jubilo performed upon the Hohner Musette accordion

An Improvisation Upon the Vintage Hohner Regina VI

A Memorial Tribute to President Abraham Lincoln (1865)

A German Folksong on the Vintage Hohner Regina VI (1938)

A Traditional Irish Folk Song on the Vintage Scandalli

Annie Laurie on the Vintage Hohner Tango II M Accordion

A Russian Folksong on the Vintage Galanti Accordion

A Traditional Jewish Song on the Vintage Hohner Accordion

Wedding Dance - Good Luck to the Bride and Groom

Painting with Reeds - an improvisation upon the Scandalli

Accordion Impressions: Along a Country Road

A Sea Shanty on the Vintage Patti Brothers Accordion

Author
Glenn Tompkins

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Wedding Dance - Good Luck to the Bride and Groom

Accordion Impressions: Along a Country Road

AuthorGlenn Tompkins

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Author
Glenn Tompkins