"Arizona Skies and Landscapes" was painted in 1986 just at the peak of my pictorial interest in abstract atmospheres and the colorful impressions as seen through the eyes of an artist. I chose wood as a painting surface because I liked the solidity and feel of the material as opposed to canvas or paper. The blend of colors reminds me of the sometimes nebulous ranges of hues seen throughout the changing hours of the day, bright in the morning, intense in the afternoon, glowing toward evening. At times everything seems to coalesce like some grand architectural symphony, where shapes and spaces seem to collide and evolve from one set of dimensions to another. I started to paint a low-relief ground as a textured acrylic surface, but then became absorbed by the variations of color in the overall pattern taking shape. So it seems that the colors may be more significant than the implied shapes which dominate the background. There may be a few more abstract landscapes from the 1980's, but this painting is perhaps one of my favorites as it strikes a visual chord of fascination with the Arizona desert/ mountain environment.
Since 1978 I have lived in Arizona and found the beauty of the skies and landscapes here to be unsurpassed. While traveling on one of my many journeys to the lakes and canyons of this State, I came across a series of landscapes which captivated my sense of space, imagination and unparalleled atmosphere. On the road to Saguaro Lake I stopped the car just to take in the broad sweep of mountains towering above the desert floor. Everywhere I looked I could sense the immense majesty and splendor of this dynamically arranged landscape. You could envision momentarily the utter solidity of these fantastically colorful rocks, feeling the dizzying power of the heights soaring skyward far from the viewer's humble point of view. The lake itself seemed to sit nobly ensconced like an enchanted oasis neatly shelved between enduring monoliths. Here was this great body of water stretching outward for miles within an expansive desert kingdom. Such a compelling sight seemed perfect as subject matter for an acrylic painting.
"Arizona Skies and Landscapes" was painted in 1986 just at the peak of my pictorial interest in abstract atmospheres and the colorful impressions as seen through the eyes of an artist. I chose wood as a painting surface because I liked the solidity and feel of the material as opposed to canvas or paper. The blend of colors reminds me of the sometimes nebulous ranges of hues seen throughout the changing hours of the day, bright in the morning, intense in the afternoon, glowing toward evening. At times everything seems to coalesce like some grand architectural symphony, where shapes and spaces seem to collide and evolve from one set of dimensions to another. I started to paint a low-relief ground as a textured acrylic surface, but then became absorbed by the variations of color in the overall pattern taking shape. So it seems that the colors may be more significant than the implied shapes which dominate the background. There may be a few more abstract landscapes from the 1980's, but this painting is perhaps one of my favorites as it strikes a visual chord of fascination with the Arizona desert/ mountain environment.
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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. 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. 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. 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. 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.
A Visit to King's Chapel at Gibraltar, August 2001 In my last post I mentioned visiting King's Chapel and the Cathedral of the Holy Trinity at Gibraltar in August of 2001. Here is another journal entry dated Friday, 31 August, written while I was living and working in Algeciras, Spain with an international team. "The windows and ceilings were bathed in light at the Chapel and the Cathedral. Both had interestingly designed pipe organs. I prayed at the Chapel. At both Churches I was the only one there. Time for reflection and encouragement!"
History of King's Chapel The Chapel adjoins the Governor of Gibraltar's residence, The Convent. Originally the building was part of a Franciscan friary, with the Chapel built in the 1530's. The Chapel was given to the Church of England by the British after the capture of Gibraltar in 1704. Military memorials and heraldic flags adorn the interior, with many memorials dedicated to members of the British Armed Forces. There are also tombs and memorials to past governors and their wives. The building was badly damaged during the Great Siege of Gibraltar (1779-83), and also damaged more recently in April, 1951 by an accidental explosion of a ship in Gibraltar harbor. Extensive restoration has been made with new stained glass windows installed in 1952 and repairs to the remarkably decorative ceilings and walls. The Chapel is used by the Army, Royal Navy, and Royal Air Force and is open to the public for services and visitation. A Fascinating Connection with Lord Cardigan In his 1953 book entitled "The Reason Why," author Cecil Woodham-Smith relates an interesting bit of history regarding Lord Cardigan, Major-General James Thomas Brudenell (1797-1868), 7th Earl of Cardigan, KCB. This officer led the Charge of the Light Brigade at the Battle of Balaclava in October of 1854, during the Crimean War. Lord Cardigan commanded the Light Cavalry Brigade, under the direction of Commander-in-Chief General Lord Raglan and Cavalry Commander Lt-General Lord Lucan. Woodham-Smith writes that Lord Cardigan's second marriage took place at the Chapel when he married Miss Adeline de Horsey, relating that "...in the course of a cruise in Lord Cardigan's magnificent yacht the marriage took place in September, 1858, at the Military Chapel, Gibraltar; Mr. de Burgh was a witness." Further historical information on Lord Cardigan and the Light Brigade can be obtained through consulting Mark Adkin's book entitled "The Charge: The Real Reason Why the Light Brigade Was Lost" published in 1996, and Terry Brighton's book entitled "Hell Riders: The Truth about the Charge of the Light Brigade" published in 2004, containing many first-person accounts. |
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