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!"
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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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. 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. Journal Entry: Friday, 31 August, 2001 Algeciras, Spain "We went yesterday to Gibraltar on an Operation Transit sponsored tour (Mediterranean Crossing). It was picturesque, with vivid surveys of the spectacular vistas from the high promontories of the Rock. I enjoyed my companions, Debbie, Christy, Carol, Amy and Leslie. Our friends from Costa Rica (Carlos, Junio and Karla) couldn't go because they had forgotten their passports. I like the military flavor of Gibraltar. One of the rock monkeys climbed up on me and sat on my head! I had a most peaceful opportunity to visit King's Chapel and Holy Trinity Cathedral. Such divine architecture and heavenly light!"
Exploring the Atmosphere at Gibraltar There are spacious open-air markets and restaurants as you first enter into the commercial district. The original military barracks have been converted into retail space, galleries, gift shops and museums. One can watch glass being blown into thousands of shapes at a glass-works factory just off the main market square. The streets lead into narrow alleyways which still afford occasional glimpses of the sea which lies beyond the densely populated areas. I asked our tour guide, Charlie, what the current population might be (in 2001). He thought about 30,000. The landing strip at the airport is fairly short and tourists must walk across the runway in order to visit the commercial district. The British officials at the entrance gate are very efficient and courteous at processing and checking passports and handling typical tourist questions. Breathtaking Sights and a Vivid Sense of History Altogether I enjoyed immensely my time spent here, seeking some out-of-the-way places and gaining an appreciation for the culture of this fascinating place. You can spend hours or even days exploring the many faceted features and pleasures of Gibraltar, gaining special insights from the local population and from those who work here. It is upon the heights that I most fondly remember the views which can take one's breath away. As you look out upon the vast blue waters along the far horizon, it is easy to imagine the historical significance of this geological location on the world's map. It is the Rock which, after all these many Centuries, still stands! Drama Upon a Volcanic Island After Capt. Nemo introduces himself to the group, the island dwellers are invited to the hidden grotto where the Nautilus lies anchored. The interior scenes of the Nautilus exhibit great set design and tremendous attention to artistic detail. In this scene aboard the mysterious craft Capt. Nemo wears a green velvet jacket and an elegant white shirt while he pours drinks for everyone and discusses his vision for world peace. Wax candles add a bit of ivory splendor to the overall burgundy and gold color scheme, and the wide portholes exhibit circular windows of ethereal blue looking out toward the rugged walls of the grotto. Nemo states unequivocally, "What I did was in the name of peace," in an attempt to justify his method of destroying warships and navies across the oceans of the world. Capt. Harding disagrees that these actions were justified, and there is some tension as the group listens to Nemo broaden the foundation of his philosophy, tactics and mission. Nemo relates that he has been engaging in "experiments in horticultural physics" in an attempt to gain "an inexhaustible food supply." He wants "to conquer famine and economic competition," in a quest to destroy the causes of war. Nemo further explains that he set the explosive charge which sent the pirate ship to the bottom off the coast of the island. He plans to re-float the ship by patching the damaged hull and pumping air into the submerged vessel. He asks Capt. Harding if he's "ready to dance with the devil" by providing the manpower to re-float the ship. The group begins to understand Nemo's scheme and agrees to provide the intense labor needed to complete the project. Racing Against Time & an Active Volcano The island dwellers cut bamboo to make a pipeline for Nemo's salvage plans, using the liquid from rubber trees to act as sealant for patching material. It is a laborious process but the team seems to be making good progress just as some spectacular volcanic explosions take place on the island. One scene features a "weird sunken citadel" which looks like the City of Atlantis, viewed by the divers as they approach the sunken pirate ship. Another scene features a battle with a giant sea creature known as a "Cephalopod" or "Chambered Nautiloid," subdued only when zapped by Nemo's fantastic underwater electric gun. When the volcanic explosions take place and seem to accelerate in ferocity, Nemo announces that their time is up and the island is doomed. In a depressed state, the island dwellers take shelter in the relative safety of the cabin of the Nautilus, but Lady Mary bluntly implores the group, "Is this the infinitely resourceful genius you told me about?" Nemo glumly responds, "Nothing can be done," preferring only to play the pipe organ and wait for the inevitable end. When the group turns to Capt. Harding for a glimmer of hope to escape their present predicament, Nemo despondently replies that Capt. Harding is "a man of faith, not of reason." Just then Capt. Harding describes a possible method of re-floating the sunken pirate vessel by repairing the damaged balloon fabric, then inserting the deflated balloon into the cargo holds of the ship and pumping air into the fabric, re-floating the ship. It is a brilliant idea and Nemo responds, "By heaven, it is a chance!" Flowing Lava and the Final Cataclysm As the pumping operation to re-float the sunken pirate ship begins, flowing lava descends from the active crater of the volcano, destroying everything in its path. Falling rocks pepper the exterior of the Nautilus, even as magnificent light and colors illuminate the hidden grotto and its doomed submarine. A cataclysmic avalanche takes place on the island, with rocks tumbling down the mountainside as trees and topographical features disappear beneath the burning lava. The survivors are successful in their quest to re-float the pirate ship, suddenly witnessing the final fury of volcanic activity as they look toward the spectacular explosions on the island. Neb says that it "looks terrifying," just as the group celebrates their timely deliverance from catastrophic destruction. The survivors mourn the loss of Capt. Nemo who is caught in the grotto amidst the final avalanche and suffers an accidental death aboard the Nautilus. The underwater city collapses off the shore of the island, leaving only rubble in place of what once was a remarkable civilization. As the group sails away on their resurrected sailing ship, Capt. Harding narrates the final words of the film in his voice-over, relating that the survivors "pledged to work for a peaceful and bountiful world," ever mindful of the imagination, work and sacrifice of Capt. Nemo. |
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