I bought this accordion several years ago and had it tuned and restored by my friend Jerry. It is in remarkable condition overall, with only a few small cosmetic imperfections, with almost all of the original trim still intact, one of the finest examples of its kind I have ever seen. The tone is quite wonderful, with a bass richness and resonance which reminds me of a large pipe organ, and treble registers which sing fluently through those distinctive reeds. The Regina features 4 treble reeds in LMMM configuration, 5 rows of bass reeds in the bass section, the typical 41/ 120 treble key and bass button combination, two changes in the treble voices, a rather petite 16 inch keyboard, and a very strong wooden frame. The color is a unique ivory or antique cream with black decorative accents and lettering. The outer part of the bellows appears to be a gold color, with silver as an inner lining. Jerry painstakingly redid the wax for all the reeds, replaced many of the worn leathers, re-aligned both bass and keyboard sections and added some new gaskets to improve compression. I have never heard another accordion quite like this one, although I have heard similar accordions from the 1930's played by other players or demonstrated via the internet. An enthusiast named Edi has restored and tuned many vintage Hohner accordions and posted a roster of models with accompanying sound samples. Edi's site is named "The Akkordeon-Museum" (www.akkordeon-museum.de). The photography and detailed information on each model is simply spectacular. The audio sound samples give an idea of what some of the early and later Hohner models sound like by hearing each accordion play a specific song.
Vintage Hohner Regina VI - a beautiful accordion from 1938
I bought this accordion several years ago and had it tuned and restored by my friend Jerry. It is in remarkable condition overall, with only a few small cosmetic imperfections, with almost all of the original trim still intact, one of the finest examples of its kind I have ever seen. The tone is quite wonderful, with a bass richness and resonance which reminds me of a large pipe organ, and treble registers which sing fluently through those distinctive reeds. The Regina features 4 treble reeds in LMMM configuration, 5 rows of bass reeds in the bass section, the typical 41/ 120 treble key and bass button combination, two changes in the treble voices, a rather petite 16 inch keyboard, and a very strong wooden frame. The color is a unique ivory or antique cream with black decorative accents and lettering. The outer part of the bellows appears to be a gold color, with silver as an inner lining. Jerry painstakingly redid the wax for all the reeds, replaced many of the worn leathers, re-aligned both bass and keyboard sections and added some new gaskets to improve compression. I have never heard another accordion quite like this one, although I have heard similar accordions from the 1930's played by other players or demonstrated via the internet. An enthusiast named Edi has restored and tuned many vintage Hohner accordions and posted a roster of models with accompanying sound samples. Edi's site is named "The Akkordeon-Museum" (www.akkordeon-museum.de). The photography and detailed information on each model is simply spectacular. The audio sound samples give an idea of what some of the early and later Hohner models sound like by hearing each accordion play a specific song.
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Passages of Time - The Carousel & Bandstand Rod Serling's "Walking Distance" exhibits some bittersweet moments for a man in search of his past. When Martin Sloan's parents do not recognize him, there is a sense of loss and sadness at the doorstep of the home he once knew. In the next adjacent scene, we briefly meet a young man who is admiring a brand new car, freshly minted out of Detroit. As Martin takes in the shiny visage before his very eyes, the young man states that the car is a 1934 Roadster, leaving the distinct impression that this event is taking place through an incredible regression in time. Now Martin begins to understand this inexplicable excursion beyond the rational elements he initially expected via his revisit to Homewood. Atmosphere & Drama in a Series of Events The next scene is one of the most atmospheric moments ever presented on "The Twilight Zone." Having left the young man with the 1934 Roadster behind, we now realize that nightfall has descended upon the neighborhood, with church bells gently ringing in the distance. Lampposts along the street radiate their distinctive glow as interior lights fill the windows of Homewood's stately houses. At this moment I am reminded of the memorable artwork of Belgian surrealist Rene Magritte (1898-1967), an artist who often captured that otherworldly atmosphere just between sundown and early evening. One such masterpiece is entitled "The Empire of Light" painted between 1950 and 1954, a lovely composition delineating some of the enchantment and charm of this unique time of day, with the light of the sky acting as counterbalance to the positively mysterious glow emanating from streetlamps and interior houselights along the boulevard. One cannot perfectly distinguish whether Magritte has painted either a day scene or a night scene, yet the evocation of transient light remains fascinating and almost hypnotic in overall effect. Unique Perspectives Rod Serling's voice-over enters this atmospheric night scene, a moment of literary and philosophical insight adding dramatic pause toward further contemplation. "A man can think a lot of thoughts and walk a lot of pavement between afternoon and night." Here we begin to grasp this integration of varied elements, in retrospect realizing both the short and long passages of distance and time, from the country gas station to the Homewood sign to the people who live in this rather special place. Serling continues as narrator, "Memory suddenly becomes reality....Martin Sloan is back in time....his resolve is to put in a claim." Full realization of all these unusual elements will take place as Martin comes face to face with a powerfully emotional event from his childhood. A chance, a time of life and a revisit will help to clarify the hazy textures of Martin's treasured youth. "Walking Distance" - October 30, 1959 One of the most memorable episodes presented on The Twilight Zone was written by Rod Serling and first seen on television in October of 1959. "Walking Distance" features Buck Houghton as producer, Robert Stevens as director and George T. Clemens as director of photography. This finely written story stars Gig Young in the lead role along with a superbly chosen supporting cast, beautiful sets from MGM, and a superlative musical soundtrack composed by Bernard Herrmann. Themes of Remembrance, Travel & Time Rod Serling grew up in Binghamton, New York and fondly remembered his childhood experiences at Recreation Park, especially the magnificent carousel and ornate bandstand. There are moments of wistful remembrance enshrined in this remarkable episode, reflections upon travel & transportation, realizations of how distance and time may change our perspectives, and a yearning to rediscover the innocence & vitality of youth. Cars, Territory & Memories In the first scene of "Walking Distance" we see a sports car rapidly driving directly toward the camera, just about to bypass a country gas station in a relatively rural area. The driver comes to an abrupt halt off-camera and then quickly backs up to the vicinity of the gas pumps at the station. There is a bit of dust flying in the air as Martin Sloan (Gig Young) impatiently honks the horn for service, trying to gain the attention of the busy attendant in the background. We can sense this businessman's competitive spirit, his tight schedule of preordained appointments and his somewhat edgy demeanor in dealing with the tasks at hand. Rod Serling's voice-over speaks about Martin Sloan "looking for sanity up the road," seeking an "exodus" but finding something a bit different from what might be expected. The attendant says it will take about an hour to do an oil change and lube job, to which Martin responds "I'm not in a hurry." As Martin gazes toward a sign which says "Homewood - 1.5 miles" across the street on the side of the road, he rather wistfully states "Grew up there. Haven't been back in 20/ 25 years." 1.5 miles is walking distance from the location of the gas station, a trip which he decides to undertake while his car is being serviced. The Vortex of the Past The next scene features the soda fountain/ drug store which we associate with small-town America in the 1930's/ 1940's. While an overhead fan circulates in steady fashion, Martin enters this fascinating place, glancing at the fully stocked shelves, taking notice that he is the only customer in this magnificent emporium. A soda jerk emerges from behind the fountain just as Martin reminisces that the town still looks "exactly the same," a picture postcard of historic preservation. "It's funny, how many memories you connect with a place," says Martin as he enjoys an ice cream soda. He thought that everything would be changed, but it's as if he just left yesterday, "Just as if I'd been away overnight." The Spectacular Sounds of the Band Organ RCA Records issued a fabulous recording of band organs in 1975, entitled "The Great French Carousel Organs," an album licensed by Erato Records of France. This recording showcases the collections of Paul Bocuse and Marc Fournier, a remarkable assortment of 9 different band organs playing a fine variety of popular tunes in a naturally splendid atmosphere. Bocuse and Fournier started their collection more than 60 years ago, carefully restoring these instruments and perfecting their mechanical integrity of performance. The results, as recorded on this album, are nothing short of phenomenal, exhibiting all the power, joy and precision of the band organ's unique textures & voices. A Splendid Sampler of Ebullient Tunes & Marvelously Preserved Instruments The Gros Orgue Gaudin performs "Perles de Cristal," "Light Cavalry Overture," "The Thieving Magpie Overture," "William Tell Overture," "Jalousie," "Under the Double Eagle," and "Ain't She Sweet." This is a very large instrument which displays the formidable sound of quite a marvelous orchestra, offering wave upon wave of musical joy, mechanical precision and splendor of memorable character. The recording also features many varieties of Limonaire, Dussaux, Lemoine and Mortier mechanical instruments, each exhibiting its own delightful sonic signature so beautifully captured by the recording engineers. The Limonaire with 66 pipes plays "Valencia" in a remarkably upbeat and exuberant manner, showcasing its rather robust sound with beautifully integrated percussive effects. The Limonaire with 56 pipes and xylophone plays a lovely version of "Rose Marie," and the Mortier performs positively dazzling versions of "Boum" and "America (from West Side Story)." Works of Art in Decoration, Wood-Carving & Colorful Ornamentation The Limonaire with 52 pipes and xylophone exhibits three carved figures standing in front of the opening to the interior woodwork, flanked by drums, cymbal, decorative panels and a light color to the paint scheme. The Mortier reveals a nice set of red drums placed in front of wooden pipes with a neat Art Deco sign overhead. The Petit Limonaire offers a lovely painting on its front facade with drums encasing a set of pipes on its rather petite frame, while the Lemoine showcases its rich chestnut stained woodwork surrounding elaborate lettering, carvings and artwork. Many of these band organs also feature gilded lettering and ornamentation, attributes which allow these instruments to shine and glow when seen in the proper atmospheric condition. The Carousel at the New York 1964-65 World's Fair In 1964 and 1965 I attended the New York World's Fair with a couple of my friends from New Jersey, taking a bus and then the subway train to Flushing Meadows in Queens, NY. We marveled at the incredible variety of pavilions and international exhibits at the Fair and took in the fabulous sights along the adventures of the day. One of my favorite places at this event was called Carousel Park at the Lake Amusement Area, a unique site dedicated to the showcasing of a rather beautiful vintage carousel & band organ. The carousel had been assembled from two different structures, a frame built by William F. Mangels for the 1908 Stubbman's Beer Garden Carousel at Coney Island, and masterfully carved horses from Charles Feltman's 1903 Carousel also originally from Coney Island. A Work of Art & Rare Examples of the Woodcarver's Craft Feltman's horses were simply splendid specimens of a rare & imaginative art, including 71 horses, 1 giraffe, and 2 chariots decorated and hand-carved with exuberant flair and consummate skill. The horses and other animals were the handiwork of Marcus Charles Illions, a master-carver who had trained at Walter Savage's London wood-carving shop. All of these horses and animals were mated to the William F. Mangels frame, the original 1908 Stubbman's structure which had been rebuilt in 1923. Military Band Organs & Their Joyous Projection of Sounds Two military band organs were installed at Carousel Park to provide music for this historically preserved merry-go-round. The Valdkirch was manufactured by the Gabebruder Organ Fabrik in Germany and featured 450 reeds along with woodwind & brass sections. An on-location recording made by Quote Records featured some of the fabulous music offered by these impressive mechanical marvels. Some of the selections offered on this LP album are "Brother Can You Spare a Dime," a couple of waltzes & marches, "In Apple Blossom Time," "Over the Waves," "Light Cavalry Overture," "Sweetheart, Sweetheart," "Beer Barrel Polka," and Rossini's "Una Voce Poco Fa." In this rather atmospheric recording you can occasionally hear an airplane fly overhead and a couple of workman's voices apparently captured by the open microphones. On a good stereo system you can crank up the volume and momentarily relive the the power and joyous projection of these marvelous instruments. Present Day Location of the 1964-65 NY World's Fair Carousel A permanent home for this carousel was established at Flushing Meadows/ Corona Park in 1968. A restoration project was begun in 2012 to last the next 10 years. The location is now known as Fantasy Forest with the carousel taking the place of honor in the present Park's magnificently preserved space and design. May riders of all ages continue to savor the beauty of the dazzling lights, the thrill of the regal steeds and the majesty of the band organ's resonant reeds. Visions & Memories From Storied Amusement Parks Liberty at Olympic Park in Irvington/ Maplewood, New Jersey The carousel at Olympic Park was named Liberty and quickly became my favorite merry-go-round, one of the primary joys of my early childhood. The Philadelphia Toboggan Co. assembled this carousel in 1914, a masterpiece of the wood-carver's art matched to a European band organ which played delightful marches, popular melodies and light Classical pieces. Liberty served from 1929 until 1965 when Olympic finally closed its doors after completing its final season. This carousel was housed in a beautifully constructed wooden pavilion which sported many small windows and a set of large entry doors. The large enclosure area inside the pavilion allowed the music to reverberate and resonate amidst the tall wooden rafters, imparting a sense of extravagantly delightful music emanating from a spacious concert hall. The sense of light was almost overwhelming to the visual eye, with thousands of brightly lit bulbs decorating Liberty's impressive exterior. There were paintings and colorful decorations in the inner portion of the carousel and also completely surrounding the upper portion of the superstructure. The horses themselves were marvels to behold, shining steeds in bright and fabulous hues, offering a staggering array of reigns and saddles and decorative accouterments. Perhaps the most endearing feature of Liberty was its fabulous band organ, a magnificently carved and decorated mechanical musical instrument which played fantastic tunes along with percussion accompaniment and miniature dancers. I always drew as close as I could to feel the brilliant vibrations sounding forth from the rhythmic music, sensing each brush of the cymbal and the thundering power of the bass and snare drums. This was high-spirited music which lifted the listener up to extraordinary realms of palpable joy. Joseph H. August, Cinematographer (1890-1947)
Joseph August worked as cinematographer on quite a few memorable films, including Gunga Din (1939), The Hunchback of Notre Dame (1939), The Devil & Daniel Webster (1941), and Portrait of Jennie (1948). Gunga Din was nominated for an Academy Award for Best Cinematography at the time of its release, and Portrait of Jennie was nominated for Best B & W Cinematography in 1949, winning an Award for Best Visual Effects that year. Portrait of Jennie was August's last film, with Lee Garmes finishing the project at the untimely occurrence of August's death. Joseph Cotten, who played the part of main character Eben Adams in the film, spoke of August as "brilliant...incomparable...our master of ethereal light." To Capture the Beauty of Central Park Vintage equipment was used to capture the effect of warm, radiant light surrounding Jennie in the Central Park scenes. August paints a lovely portrait in vintage black & white, with those picturesque park benches, quaint antique lamp-posts, curving pathways, the distant atmosphere of the pond, the manifold hedges of trees and thousands of darkly mysterious branches. One imagines that these forests of branches might resemble the expanse and patterns of time, one set of shapes leading to another and expanding at new and different angles. The Winter scenes and the ice-skating scenes similarly strike resonant chords, with the awesome skyline of New York City towering over some of the backdrops like palatial castles and European chateaus. A Vast Refuge in the Midst of Urban America The history of Central Park is one that reaches back to its inception in the year 1857. In 1858 Frederick Law Olmsted and Calvert Vaux won a design competition to expand and improve the park. While the Park in 1857 encompassed 778 acres, today it encompasses 840 acres including a pond, a lake, a reservoir, numerous wooded areas, picnic groves and open fields for play or athletics. A Document of A Rare Time & Place One of the most beguiling pleasures of watching Portrait of Jennie is this remarkable canvas of light & shadow so eminently captured by the gifted cinematographer Joseph August. What the artist manages to preserve transcends decades of time, offering indelible scenes recorded for the impressionable viewer. A Classic from the 1940's
One of the most atmospheric films I have ever seen is director William Dieterle's Portrait of Jennie (1948), a romantic fantasy starring Joseph Cotten as Eben Adams and Jennifer Jones as Jennie Appleton. This film takes place in Depression-era New York City and captures some marvelous shots of Central Park via cinematographer Joseph August's splendid black & white photography. Soundtrack Highlights Initially composer Bernard Hermann was set to write the musical score for this film, but he parted company with producer David O. Selznick. Composer Dimitri Tiomkin was hired to complete the soundtrack, borrowing heavily from Classical composer Claude Debussy's distinctive impressionistic style. Claude Debussy's "Nuages" can be heard in the opening narrative sequence, with "The Girl with the Flaxen Hair" woven into some of the background music throughout the film, and "Arabesque No. 1 in E" also appearing in background musical sequences as well as the closing credits. I love how this music weaves back and forth amidst the action upon the screen, allowing passages to assume a sense of extraordinary texture throughout the evolving plot involving the full cast of characters. Here there is a sense of magnificent drama, mystery, and brooding temperament heightened by the fluctuations in the main character's broad range of human emotions. A haunting song and some memorable spoken dialogue The one original song composed by Bernard Hermann and still part of the soundtrack is "Jennie's Song," with Hermann's music matched to Robert Nathan's lyrics. The lines are intriguing with the words "Where I come from, nobody knows," leading to speculation as to Jennie's origin and the mysterious nature of her life. Then there are some richly evocative moments of dialogue spoken by Jennie as she shares with Eben, "I know we were meant to be together. The strands of our lives are woven together and neither the world nor time can tear them apart." Jennie speaks intimately to Eben the artist, "Eben....I want always to sit and watch you paint....I want you to paint all the beautiful things in the world." From an artistic viewpoint, this is the kind of fabulous inspiration and ultimate encouragement any artist would want to hear. A superlative cast Jennifer Jones is one of the most beautiful actresses I have ever seen, perfectly fit for this unusual role. She complements every scene she is in with the veteran actor Joseph Cotten, also superbly cast in his role as the struggling artist. Ethel Barrymore adds convincing demeanor as the gallery owner Miss Spinney, and Cecil Kellaway is perfectly suited to his supporting role as gallery curator & friend to Miss Spinney. Since the 1950's I have been fascinated with the sounds which emanate from vintage accordions. Although my earliest attempts at music involved sitting at my grandparent's Story & Clark upright piano, I quickly gravitated toward the accordion when my dad offered to pay for music lessons in 1959.
The Accordionist's Sketchbook - A Day in South Orange - (posted on You Tube Channel FromHolbergsTime on July 20, 2013) - This improvisational piece traces back to the years 1974/ 75 after I finished my 4 year tour of duty with the US Air Force and drove home from California to rejoin my family in New Jersey. It is an atmospheric sketch of some of the sounds, sights and patterns of a thriving urban core set adjacent to South Mountain Reservation, in the vicinity of Millburn toward the West and South Orange toward the East. Here there are railroads, lots of vehicular traffic, densely populated neighborhoods and a neatly laid out downtown center. For an entire day I walked these streets and recorded in my mind all the unique sounds of the South Orange environment, the rumbling pace of delivery trucks, the metallic squeal of the fast passenger trains, the familiar noise of the diesel city buses. And yet I could also assess the beauty of birdsong in the parks and the forest preserves and take note of the myriad conversations in this bustling metropolis. Throughout the day I was keenly aware of the dichotomy between the densely populated corridors of the city and the wilderness preserves just to the West. What a marvelous juxtaposition of serene tranquility on one hand and incessantly dynamic pace on the other! This music attempts to record some of the noteworthy pulses and dynamic observations of that day. Recorded upon my vintage Iorio accordion, a 4/5 reed instrument in LMMH configuration. Baltusrol Impressions, Part I - (posted on You Tube Feb. 4, 2012) Baltusrol Impressions, Part II - (posted on You Tube Feb. 8, 2012) Baltusrol Impressions, Part III - (posted on You Tube Feb. 22, 2012) Baltusrol Impressions, Part IV - (posted on You Tube Dec. 3, 2012) These improvisational sketches reflect upon some of the historical moments shared while visiting my cousins and occasionally staying with them as a guest at their house on Baltusrol Avenue in Springfield, New Jersey. This area no longer offers the pristine beauty of waterfalls, rocky outcroppings, densely wooded forest, meandering stream and hidden pond in the distance. All of these lyrical treasures were swept away with the new highway alignment for Route 24 which came in during the late 1960's or early 1970's. This music attempts to recreate in an atmospheric manner some of the simple pleasures of those early years, from 1955-1965, when I was between 8 and 18 years of age. Various accordions are heard in this series, including a Hohner, Galanti and Iorio. |
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