From: Wilk@ati.com
Subject: Quint free bass system accordion
Last year I bought a quint free-bass converter accordion. I am enjoying the expanded melodic and harmonic opportunities offered by this instrument.
As a performer and composer would you happen to know if there are performers, arrangers or composers who exploit the possibilities offered by the quint free-bass features -- as does music for the bandoneon which exploits its particular features and gives that distinctive sound in the free-reed realm? I am aware of only 3 Palmer-Hughes books for the quint system -- perhaps there is more material?
Peter Wilk
REPLY:
Dear Peter Wilk,
I am not aware of any music written or arranged especially for the quint free-bass convertor accordion. To my knowledge, composers and arrangers expect that the performer will play their music correctly regardless of the type of accordion used. However, perhaps virtuoso performers of this type of instrument may know of music written especially for the quint free-bass convertor accordion.
Two people come to mind:
Robert Young McMahan from New Jersey, a composer and performer of the quint free-bass convertor accordion. I believe he has written some original music especially for that instrument. You should be able to contact him at
9 George Washington DriveAnother person is Salvatore di Gesualdo, concert artist and professor at the Conservatorio "Cherubini" di Firenze in Italy. I believe he may be the greatest quint free-bass convertor performer the world has ever seen, having performed Bach's entire "Art of Fugue" note for note on solo accordion. His compositions and transcriptions are published by Ricordio (Milano) and Berben (Ancona). He can be reached at:
Titusville, NJ 08560
609-737-6362
mcmahan@tcnj.edu
Via della capponcina 29aI would be grateful if you would share with me any information you may discover.
50135 Firenze
Italia
Phone: 055-284757 (State Conservatory)
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Sun, 31 Oct 1999 02:27:35 +0800
From: Lau Chun Bong -- cblau@netvigator.com
Subject: Harmonica masters Larry Adler and Cham-ber Huang to perform in
Hong Kong
Being a harmonica lover in Hong Kong, I am very happy to inform you of a great news in the harmonica world - Larry Adler and Cham-ber Huang will appear on the concert stage together in Hong Kong on 30 Nov 99 (Tuesday). For details, please refer to the website of King's Harmonica Quintet http://home.netvigator.com/~cblau/khq/. Please help to spread this news to others who may be interested in this once-in-a-life-time event.
P.S. The concert is organised by the Provisional Urban Council of Hong Kong, and they reserve all the rights on the details of the concert. The information on our website is thus unofficial, especially the programme, which may be subject to change.
Lau Chun Bong
King's Harmonica Quintet
Date: Sat, 16 Oct 1999 07:50:40 EDT
From: Mkohan@aol.com
Subject: Accordion History
I have been asked by the New York State Council on the Arts to prepare an article on the history of Polish American accordion players in Western New York. They will use the information for future workshops and as background information in future grant writing projects.
What I am looking for is a condensed history of the instrument. With Steve Litwin, we have documented concertinas, but my knowledge of the development of the accordion is close to nothing. Any information you can provide would be greatly appreciated.
Mark Kohan, editor
Polish American Journal
Mkohan@aol.com
REPLY:
I am a Polish American accordion player, but I live in Pittsburgh PA! (born & raised in New Jersey). You may find the information you want on The Classical Free-Reed, Inc. website. Click on History of the Free-Reed Instruments.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Mon, 11 Oct 1999 22:15:03 -0700
From: Steve Doyle (sddoyle@ibm.net)
Subject: Sheng Questions
Dear Classical Free-Reed, Inc.:
I stumbled upon your website one day and I decided to take a look. I was intrigued by your article on the sheng, the Chinese ancestor of the harmonica. I have some questions for you. Do you know if there are any detailed books written about the sheng? Where could I find out more information about the instrument? Is there any sheng player (shengist, I suppose) you know of whom I could e-mail? Where could I aquire a sheng and for what cost? Would it be feasible to construct a sheng myself?
I hope you can answer my questions. I really enjoy your website.
Sincerely,
Paul Doyle
REPLY:
You can find the address of a classical sheng player at The Free-Reed Review Concert Review: Wang Zheng Ting, sheng, and Richard Hunter, harmonica
From: DROTHE@csuchico.edu
I visited your interesting free-reed website and am wondering if you can provide me with some information. I am a music professor at C.S.U., Chico, where I teach mostly music history and organ. I have been interested in the Chinese Sheng and the Japanese Sho ever since I heard a Sho demonstrated by a young Japanese gentleman about 20-25 years ago at either a college Music Society meeting or a meeting of the American Musicological Society. He played a short piece "that traditional Japanese people play in the morning when they are happy". It was a very moving experience. I'm wondering if you could tell me:
a.) the differences between a sheng and a sho.Thank you very much for your assistance.b.) where one might be able to obtain one or both of these instruments.
c.) What one could expect to pay for these instruments.
d.) how one could learn to play one of these instruments. (If they come with instructions -even in Chinese or Japanese- it would be no problem as we have a number of native Asian students in our department (and one native Chinese professor and graduate students) who could help with the translation(s).
e.) where one might find repertoire appropriate to the instrument(s).
Sincerely,
Dr. David Rothe
Professor, Music and
University Organist
California State University, Chico
REPLY:
Dear Sir,
I suggest you write to Robert Garfias (rgarfias@uci.edu) and James Cottingham (jcotting@coe.edu). They will be able to answer your questions.
Mr. Garfias is the author of Eastern Free-Reed Instruments and James Cottingham is the co-author of Acoustics of the Khaen, both found on The Classical Free-Reed, Inc. website.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Thu, 9 Sep 1999 18:57:19 EDT
From: BSP6263@aol.com
Subject: photo of sona players
Friends,
In Robert Garfias' article regarding Asian Free Reeds there is a wonderful photo of sona players and sho players together. I would like to use this photo for a lecture demonstration that I present entitled Öboes Of The World". How may I get a copy and may I have permission to use it?
Sincerely,
Brenda Schuman-Post
REPLY:
Dear Brenda Schuman-Post,
Thank you for your inquiry regarding the photo of the sona and sho players. (May I ask you how discovered our site?) We do not own the photograph; if I remember correctly, Robert Garfias (the author of the article) gave us permission to use it. You may write to him directly at rgarfias@uci.edu. It is a simple matter to download and print the photo from your own computer, or from a library or school computer.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Sun, 22 Aug 1999 15:30:09 EDT
From: Jmhink@aol.com
Subject: Joseph Lilly's article on the khaen
Joseph's article was a blessing. I just picked up a khaen from a shop in Springfield, IL for around $10 and was curious about it's history, and how it's played. I would be interested in hearing sound files of this instrument being played, so if any more are posted or if you know of any other sites that have sound files, please let me know.
Joel Hinkle
REPLY:
Dear Mr. Hinkle,
The Classical Free-Reed, Inc. has a sound file of a khaen at The Asian Free-Reed, an article by Robert Garfias. Either Mr. Garfias or James Cottingham may be able to provide further assistance.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Thu, 19 Aug 1999 14:54:26 PDT
From: conductorespinal@hotmail.com (jose espinal)
Subject: greetings from a friend from Mexico
Hi, Mr. Henry
I don't know if you remember me. we met a long time ago, in a concert of the cuarteto Latinoamericano de Cuerdas, performing a String Quartet by Astor Piazzolla. I'm a very good friend of Cesar Olguin. I told you I was studying a masters program in Conducting. Currently I'm a student of Dr. Robert Page. I'm graduating in May 2000.
But I also told you that day that I'm a conductor and accompanist at the main Opera company in Mexico. I work at the Palacio Nacional de Bellas Artes since 1991. The reason of my message is because I conducted the Symphony Orchestra in Veracruz, Mexico, last June 9. And part of the program was the first performance of a work by Pittsburgh composer NANCY GALBRAITH. The concert was a success. I have some reviews that I would like to show you because I think is important that people know that I'm promoting the music of our times, and the composers from Pittsburgh. Currently I'm making a specialization on music by composer Reza Vali, teacher at CMU.
And also, in that concert, I also conducted the first performance in Mexico of a CONCERTO FOR BANDONEON AND ORCHESTRA, the 'THREE TANGOS", and I invited my friend CESAR OLGUIN to be the soloist! He played wonderfully and I'll also show you the reviews. By the way, he send you greetings.
Thanks and see you later.
ANTONIO ESPINAL
Date: Mon, 26 Jul 1999 20:50:33 EDT
From: PKrampert@aol.com
Subject: Beatles Article
Dear Henry:
Congratulations on a great article titled The Beatles and the Free-Reed Instruments. I could never have been as thorough as you were.
Now for the bad news. I was (and still am to some extent) under the impression that the harmonica players you listed for "Being for the Benefit of Mr. Kite" was correct. Now, go get a copy of the "Beatles Anthology 2" CD and inside the booklet you'll see a lovely picture of John Lennon and George Harrison playing bass and chord harmonicas while wearing their Sgt. Pepper outfits, obviously in the studio.
Gee. Just when we had everything all figured out, somebody had to come along and screw us up with facts. Que Sera Sera. Such is the fate of all who try to report history. (It's just a mystery)
Keep up the great work and I hope to see some more of your great work in the future.
Your fan,
Peter W. Krampert
REPLY:
Dear Mr. Krampert,
It was a great pleasure to hear from you. I was thrilled to receive a review copy of your book, The Encyclopedia of the Harmonica which I reviewed in the pages of The Free-Reed Review. In fact, I discovered some interesting facts about John Lennon and the harmonica in your book which I used in my article. Truly I have been (and still am) a great fan of the Beatles. This article was simply an expression of my appreciation for their music.
Thank you for the information regarding the photograph in the Beatles Anthology 2. I will have to take a look at it! I wonder if they actually played the harmonicas in the recording or whether the photo was simply a publicity shot. As far as I can imagine, it could have been either, or both!
Thanks again for your letter.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Thu, 15 Jul 1999 12:50:51 -0400
From: twirlyd@lancnews.infi.net (David Goodman)
Subject: Book Advice
Hello Henry,
For some time, I've been toying with the idea of putting together a book tentatively titled "Squeezers: A Guide to Contemporary Accordionists and Accordion Resources". My first book, "Modern Twang: An Alternative Country Music Guide & Directory", which was recently published by Dowling Press has profiles (biography, discography, contact addresses) of over 600 performers including many that are either accordion based or in which the accordion plays a prominent role e.g. Cajun, Tex-Mex, cowboy, Western swing et. al. It has also a number of appendices for record labels, publications, web pages, venues, radio, and other resources. I have the same type of structure in mind for "Squeezers" with profiles of modern accordionists but from a wider range of styles and with appendices devoted to the above plus accordion manufacturers, organizations, etc.
So far, I've done lots of basic research and compiled a file drawer full of about 200 accordionists and lots of resource information. Most of those on the list have substantial recording/performing experience and/or have made significant educational/promotional contributions. Your web site has been *very* helpful and before I delve too far into this project, I wanted to write and ask your advice. Any comments or suggestions would be greatly appreciated. Could you suggest others I might contact about my idea? I'm not an accordionist but simply a big fan of the instrument in all its wonderful diversity.
Thanks; look forward to hearing from you.
David Goodman
Lancaster, PA
http://www.lancnews.com/moderntwang
REPLY:
Hello David,
Thank you for your kind words about our site and good luck with your book. All I can suggest is to look at our Links page. Any other reference I might suggest can be found there.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Mon, 28 Jun 1999 21:54:11 +0200
From: sb.fr@wanadoo.fr (senake bandaranayake)
Subject: What is a serafina?
We are trying to find out something about an Indian or Persian instrument called a serafina or seraphina. It is a kind of accordion but is played sitting on the floor with a bellows-like flap on one side and a keyboard whose stops are circular like the keys on early typewriters.
It seems to be a fairly modern 'invention' or adaptation dating from the 19th century. It is best known in contexts such as the Bombay Victorian theatre of the 19th and early 20th centuries.
Does anyone know its history, the correct name and spelling and its nearest relations? We would be glad for any help that can be given about this.
MF
REPLY:
The serafina is news to me. At first I thought of the Indian table-top hand-pumped harmonium -- an instrument which I have played for two decades, but the serafina seems to predate the harmonium as it uses buttons intead of keys. The first accordions had buttons, only around 1850 were accordions make with organ or piano keys.
I suggest you get in contact with Darcy Kuronen, Curator of Musical Instruments, Fine Arts Museum, Boston, who is on the board of advisors of the Center for the Study of Free-Reed Instuments. If he cannot help, perhaps he can recommend others.
CFSFRI Director Allan Atlas (aatlas@gc.cuny.edu) can give you an address for Mr. Koronen. I would be grateful if you would share with me any information you might find.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Wed, 23 Jun 1999
robertov@citytv.com (Roberto Veri-Breakfast TV-2451)
Dear Mr. Doktorski:
I've just read in the New York Times of Pietro (Lee) Deiro's Death last Saturday. I am searching for historic recordings of his father and himself, as well as a definitive catalogue of all of their original compositions. Would you have any suggestions?
REPLY:
Dear Sir,
1) my friend George Kipper (gkip@loc.gov) works at the Library of Congress. He is also an accordion afficionado. Perhaps he can help you.
2) There is a Frosini-Deiro society in Sweden: Frosini-Deiro Foreningen directed by Bernt Bostrom. I do not know the address, but you can write to the director of the Frosini society who can give you Bernt Bostrom's address:
Lars Ek
Musik & Underhallnings
SKRADDERIET AB
Hogvallavagen 9
131 46 NACKA
Sweden
phone: 08-718 06 30
fax: 08-716 23 70
Here is another address, I do not know which is more curent.
Lars Ek
Norrtullsgatan 10, 3 tr
113 27 Stockholm
Sweden
tel. 08-30 60 86
You might also write to Faithe Deffner, president of The American Accordion Association, who knew Deiro Jr. personally. Her address is: fdeffner@aol.com.
Please share with me the information you discover. Perhaps you can even write an article about Pietro Frosini Sr. including catalog of works, which I can publish on the pages of The Classical Free-Reed, Inc.
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Wed, 23 Jun 1999
Dkoontz@ic.sunysb.edu (Daniel Warren Koontz)
Dear Sir,
I was given your e-mail by Allan Atlas. I am a graduate composition student at SUNY Stony Brook, and I've been asked to write for classical accordion. I was wondering if you have any materials advising what can and can't be done, ranges, etc., or if you could direct me to a reference on this. Please respond when you have time. Thank-you.
Daniel Koontz
REPLY:
Hello Daniel,
Joseph Macerollo has written "Accordion Resource Manual" (Avondale: 1979) especially for composers. I believe the Lincoln Center Library has it.
You can also find Helka Kymalainen's Harmonikka taidemusiikissa (The Accordion in Classical Music) to be useful. I wrote a review of said book for the Free-Reed Review. I invite you to write an essay about your experience writing for accordion. I am always looking for interesting articles to publish in our "Free-Reed Review."
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Fri, 18 Jun 1999 00:17:03 +0000
From: Bernd Kammerer -- mubomail@t-online.de
Subject: Fine!
Hi there!
The Henry Doktorski-Review on Hovhaness' "Rubayat" was a great pleasure for me to read. Mr. Doktorski gives a straight and conclusive impression of this extraordinary work by Alan Hovhaness.
By the way: I am a German music-critic, very interested in - and of course touched by - the work of Alan Hovhaness. In Europe, Hovhaness was nearly unknown until the early Nineties. Now there is finally a slightly increasing interest for this great composer and truly outstanding, unique genius of music.
I discovered your review on Hovhaness' Rubayat by trying an internet search (altavista) for "alan hovhaness." I didn't know about "Rubayat" as this work is not yet distributed in Germany. But I hope it will be soon.
Thank you, and my best wishes for your site...
Bernd Kammerer
Date: Sun, 13 Jun 1999 12:30:48 -0500
From: sparklingbeatnik@email.msn.com (Phil James)
Subject: tuning Indian harmonium
Hi--
Great web site!
Do you know of anyone who could re-tune my Indian harmonium to my specifications (a particular microtonal scale--I could specify pitches in hertz, cents, or ratios)...
Thanks!
Phil James
REPY:
Dear Phil,
I think ANY accordion or reed-organ technician with a good electronic tuner should be able to do the job you requested.
I played the harmonium for Bengali-Vaishnava services for 16 years, in temples in America as well as India -- Calcutta, Mayapura, Vrindavana, Rishikesh, Delhi, Bombay, etc. -- during my association with the Hare Krishna Movement (ISKCON). I still play occasionally for house-kirtans & bhajans. Did you see my review of A. C. Bhaktivedanta Swami Prabhupada's "Krishna Kirtans" CD in The Free-Reed Review?
Are you well-versed in Indian music? If so, I would be delighted if you would submit an article or two for "The Free-Reed Journal" or perhaps write CD reviews for "The Free-Reed Review."
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Sat, 12 Jun 1999 21:31:31 -0700
From: Country@centuryinter.net (Martin & Renee Curtis)
Subject: newly acquired organ
dear sirs:
I have recently acquired a reed organ which has the name "Clough & Warren Organ Company" spelled out on the front. I know it is missing a piece which was placed on top because of the discoloration of the wood.
I have been cleaning it, but am afraid of damaging it.
Any information you could give me on this beautiful instrument, i.e. restoring, when made, valuation, etc., would be greatly appreciated. I do not wish to sell it as I bought it for sentimental reasons and plan on keeping it forever.
Sincerley,
Reneé Curtis
REPLY:
Dear Reneé,
Thank you for your letter. I wish I could help you more, but all I can do is refer you to the Harmonium and Reed Organ section on our "Links" page.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Mon, 24 May 1999 22:12:24 -0600
From: moutten@trail.com (Mary Outten)
Subject: Ponchielli
Hi! Love your website.
Does anyone know how I might find an arrangement of Ponchielli's "Dance of the Hours" for accordion? I am particularly interested in the "Presto" section...
Mary Outten
Santa Fe, New Mexico
REPLY:
Dear Mary,
I believe Anthony Galla-Rini wrote an arrangement, although I couldn't find it at the Music Graphics Press website. Perhaps you should write or call Galla-Rini personally. His address can be found on The Classical Free-Reed, Inc. Performers Directory page.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Sat, 15 May 1999 14:41:26 +0100
From: Martins -- justmartins@mail.telepac.pt
Subject: Performers directory
Dear Henry
Last year I made the decision to quit concert playing, as other professional duties have prevented me from achieving this aim. Therefore I ask if you would remove my name from the performers list. Sorry for any inconvenience this may cause.
Many months ago I promised to send information about Portuguese accordionists. Due to the same reason, only next month I'll be able to give you the names and addresses. This time is for real... I've been in a course directed by Zubitsky and he liked the young players. I think in a couple of years you'll hear of them as they are very good.
Best regards
Octavio Martins
REPLY:
Dear Octavio,
Instead of removing your name from the list I have marked it "retired." I do not consider myself a concert artist, yet time to time the Pittsburgh Symphony and other local ensembles need an accordionist so I keep my name on the list.
Especially now, that I have accepted a fulltime position as music director for a Catholic church which begins next month.. I do not think I will have much time at all to practice accordion anymore, as I will be practicing organ and directing four choirs as well as playing over 400 services per year, not to mention administrative work. It is a rather large church.
And yes, I look forward to your list of Portuguese classical accordionists.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Wed, 12 May 1999 19:23:59 +0100
From: Sam Pirt -- sampirt@folkmusic.freeserve.co.uk
Subject: I need help
I am 19 years old and have been playing piano accordion for 7 years. I've just moved on to a Pigini 96 convertor bass system and I wondered if you knew of any tutor books for this system so I can get started on the right footing (should that be fingering?!!)
Thanks for any help, I also love your web site a lot.
REPLY:
Dear Sam,
Congratulations on the acquisition of your new Pigini!
I just received in the mail a book in Spanish which might be helpful:
Acordeion Divertido by Ricardo Llanos, published by
Erviti
San Martin, 28
20005 San Sebastian
American accordionist James Wadowick just published a Thesaurus of Scales for bayan. His email address is wadowick@p-c-net.net.
However, I strongly suggest finding a teacher, if only to get you started.
From your email address, I assume you live in England or Scotland. In
England, Professor Owen Murphy teaches accordion at the
Royal Academy of Music
Marylbone Road
London NW15HT
tel: 0171-873 7381
In Scotland, Una Bryson-Cunningham teaches free-bass accordion at
Ian Tomlin School of Music
NAPIER UNIVERSITY
219 Colinton Road
Edinburgh EH14 1DJ
You might also contact the manufacturer at http://www.pigini-accordions.com/index.htm
Best wishes!
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Tue, 4 May 1999 23:35:23 -0000
From: ROBERT WARNER -- r.t.warner@worldnet.att.net
Subject: CARPAL TUNNEL PROBLEMS
Hi Henry,
This is the first time I have visited your website - it's really great. I was recently diagnosed with carpal tunnel syndrome due to perhaps unintelligent practicing and frequent use of the computer. It's blown away my dexterity and confidence. I'm currently wearing a wrist splint and using hot/cold packs frequently trying to get over this thing. Do you know of anyone that has had the same problem and successfully gotten over it? I'm desperate for any useful tips.
REPLY:
Hi Bob,
Thank you for your kind words regarding our humble website. It is always encouraging for us to hear that others appreciate our efforts.
Have you seen the series of articles in The Classical Free-Reed, Inc. website titled The Accordion: A Back Breaker?
Terry Knight mentioned in the first article "Case Histories" that he has carpal tunnel syndrome, but unfortunately he seems to have disappeared. I've been trying to locate him for a year!
John Bonica might also be of assistance. His phone number is 503-254-2652.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Tue, 20 Apr 1999 00:18:49 +0200
From: hlefever -- hlefever@stego.gent.online.be
Subject: harmonium
I want to restore a harmonium (in my possession). I can't find sites or information about the instrument "harmonium." So if you can help with information about it, please send me mail.
Greetings
Herman Lefever
Hlefever@pop3.antw.online.be
REPLY:
The best I can do is to refer you to our "links" page. There you will find links to Harmonium Home Page and Harmonium Index. Perhaps the authors of these sites will be able to help you. If you discover other sites about the harmonium, please let me know and I will include them in our "Links" section.
Sincerely,
Henry Doktorski, founder The Classical Free-Reed, Inc.
Date: Wed, 7 Apr 1999 09:43:35 -0700
From: "Berta, Robert" -- RKB4@pge.com
Subject: Concert review.
Henry,
As you recall I had been working to arrange a tour and/or visit of Rahman Asadollahi to the Bay Area Accordion Club. I first heard and saw Rahman in a video that was forwarded to me of a couple of his concerts with orchestras in his native country of Azerbaijan. I was very impressed with his playing of folk music. That was the tape I sent to you to check out.
Subsequently he was stricken with cancer and to offset his medical expenses a 2 CD recording was made called "The Best Of Rahman". A copy was sent to me and I reviewed it for The Classical Free-Reed, Inc. web site. (Please see The Free-Reed Review.) I was very impressed with the fine performance of folk music of a type most people in the US have never been exposed to.
The Azerbaijan Cultural Society of California decided to sponsor him on a tour which included several cities throughout the US. Rahman is now living in Germany. The folk music he plays is now outlawed by the government where he came from and he was arrested once for playing his accordion and that music. This gives a whole new meaning to that famous bumper sticker...."Use an Accordion Go to Jail"!
San Jose was the site of his last concert a week ago and in thanks for our review of his CD he offered to attend and perform at our meeting last night. Wow....what an artist! He plays a Garmon which is another variety of the accordion. It is a very small instrument....about the size of a 12 bass accordion. It has piano accordion type keys but very narrow. The musician only uses one strap which is over the right shoulder. The right hand pushes it against the shoulder strap and the thumb is usually used in a bracing position with most playing done with four fingers although occasionally he would use his thumb. The tuning of the accordion is to a different scale than the normal western scale although I was unable to find out what the actual tuning was due to the language difficulties. There are also bass butons which seem to be in a chromatic like arrangement of two rows of about 20 buttons each.
Rahman was accompanied by one person on a folk drum (he was an incredible percussionist also). The two of them played some of the most intense music I have ever heard. Talk about emotions....the music was incredibly infectious. He is a composer and arranger with much honor from his prior home land as well as in Europe where he won first place in Switzerland at a top accordion competition in 1995. He played three tunes each of which were quite long. At the end of each he got standing ovations from the very sizeable crowd....something our club reserves for very few outstanding performers. I don't recall that even Lips or Semyonov got three standing ovations!
The instrument is very powerful and the playing style allows for lots of dramatic flourishes while playing....flutters, bellows shakes, bellows induced variations. And the music tends to consist of many very complicated riffs and key techniques which were unique and I am sure many of our members will try to emulate in their own music styles. It reminded me very much of a virtuouso Bandoneon players technique or the amazing bellows control of a Lips or Semyonov.
The fear I had was that the music would be so "strange" to our western ears that it would be hard for our audience to understand. It was just the opposite....the audience loved it!
He will be going back to Germany now but perhaps he could be persuaded to come back for a repeat concert tour in the future. Isn't it shocking that there is a country where you can actually go to jail for playing an accordion. Before he started his concert he gave an impassioned plea plea through an interpreter for music to be the one non-politicized aspect of life. One of the pieces he played was over 900 years old. It is sad that some governments will destroy such a legacy in the name of politics. I know that after the concert many members came up and thanked him for what he is doing to keep the music alive....I know he felt very happy about that....you could tell that all he lives for is passing his heritages music on to future generations. Pretty powerful stuff!
Date: Sat, 27 Mar 1999 20:17:15 +0100
From: Zubytskyy Volodymyr -- psfb9qgo@tellnet.pesaro.ps.it
My dear friend Henry!
Excuse me, please, for my long silence. Recently I had a terrible case of influenza (this year spring is so early, but so cold!) and now that war with Yugoslavia has begun every day we watch all the events - so terrible and infinite.
Now the best young accordionist is in Yugoslavia, as well as all the last winners of the Coupe mondiale and Trophee mondiale -- Castelfidardo, Klingenthal -- young 17-18 years boys from this country. Their teachers studied in my country -- in the Moscow, Kiev and Minsk conservatories -- and now the 2nd generation students give fantastic results. In fact, it may be that now the young Yugoslavian accordion school is one of the best in the world. And this terrible problem with their president, such a terrible situation is difficult especially for musicians. I now see it from the same situation in my country (the former U.S.S.R.), when all think only about politics and economics - nobody about music or art.
Your friend,
Vladimir
Date: Fri, 12 Mar 1999 12:36:29 -0500
From: Toni Meekins -- tonigil@sylvaninfo.net
Hi Henry,
It's been quite awhile since I've written to you. I have really been drowning in the sea of information about accordions on the Internet. There is more than enough data there to fill several volumes.
I visit your website very often and am amazed at how it keeps up to date in its CD reviews and what's new in the free-reed world. The letters, too, are informative and thought-provoking. Although it must consume a tremendous amount of your valuable time, I hope you still can keep "The Classical Free-Reed" website going indefinitely.
Keep in touch.
Date: Mon, 22 Feb 1999 19:39:24 -0600
From: John Bispala -- n0egg@worldnet.att.net
Subject: TNX RE: Ahvenainen
Hi,
Enjoyable to read about Veikko Ahvenainen. I met him once, Oct. 16, 1994, in concert at Holy Trinity Lutheran Church, Hibbing, MN, and I bought his Studio Recording CD, upon his recommendation. I was, in fact, the first person allowed to play an accordion at that church, when I was a teenager.
Having not practiced for nearly forty years, I determined, upon hearing Veikko play, that I would not let this talent die before I do! So, I started taking lessons all over, with Helmi Harrington and her late partner Duane Sellman, within a month after listening to Veikko. Now I own a new Delicia Dineta with combination chromatic free bass and German Stradella, and an enhanced piano keyboard, and I enjoy playing it very much--polyphonic music in just about every style I can find time to learn.
I would like to buy more of Veikko Ahvenainen's CD's, etc. and those of other accordionists. The best are not usually available in record stores. Specifically, I am looking for his "Säkkijärven polkka." I got no response from the publisher of his Studio Recording CD, when I wrote there. Can you help me find such?
John K. Bispala
(612) 588-4411
4107 Fremont Ave. N.
Minneapolis, MN 55412
REPLY:
Dear John,
I also heard Mr. Ahvenainen perform. It might have been the same year as you, in 1994. This was at the American Accordion Musicological Society festival at King of Prussia, Pennsylvania, organized by Stanley Darrow.
Although Mr. Ahvenainen gave me his business card with a California address, the address is no longer current. I don't believe the addresses listed on the two reviews of his CDs in The Free-Reed Review are current either Perhaps an internet search might help?
If Dr. Helmi Harrington does not know Mr. Ahvenainen's where-abouts, perhaps Mr. Darrow does. You can reach him at 609-854-6628. Please let me know if you have any success and I will include his updated address in The Classical Free-Reed, Inc. International Directory of Classical Free-Reed Performers.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Thu, 04 Feb 1999 21:43:02 -0600
From: Bill Palmer -- bill@billpalmer.com
Subject: Re: Dr. Willard Palmer's Home Page
Dear Mr. Doktorski:
I noticed that you have a link to the homepage of the late Dr. Willard A. Palmer from The Classical Free-Reed, Inc.. I am sure that my father would have been honored to be mentioned on your site. Your name is quite familiar to me. He mentioned it on several occasions--favorably, I might add! ;-)
I will be most happy to put a link to your site on not only his web page (http://www.willardpalmer.org/index.htm), but my links page (http://www.billpalmer.com/links.htm) as well.
Yours truly,
Bill Palmer, A.I.M.C.
AAFOUF #00084
Date: Sun, 31 Jan 1999 22:22:10 +0200
From: Ari-Matti Saira -- amsprod@sci.fi
Subject: Finland news
Dear Mr. Doktorski
My name is Ari-Matti Saira. I am a Finnish accordionist, but also composer and publisher, too. My friend Matti Murto adviced me to contact you.
I tell something about me:
I began playing the accordion at the age of five as a pupil of Lasse Pihlajamaa. While at the Helsinki Conservatoire my tutors were Matti Rantanen and Sirkka Kelopuro. I got my accordion diploma in 1989, before continuing my studies with Mogens Ellegaard.
Participations in competitions has brought me a number of successes: junior prizes in a number of Finnish accordion contests, Nordic championships, and third place in the international CIA tape competition in the 1970s. Later in 1996 I got the second prize in Castelfidardo in the duo-category playing with my wife.
I have made numerous appearances as both a soloist and a chamber musician and I have been recording for the Finnish Broadcasting Company since 1986.
I have recently composed chamber music (see the MODUS MUSIC cataloque), solo works and teaching material for the accordion. Since 1996 I have published those works by AMS-production Ky. And now I am teaching at the Southwest Häme Music College.
The web pages of the Classical Free-Reed Inc. are a pleasant surprise for me. A lot of good accordion music can be found from your sites - thanks to your big work. I hope that also my music can find the playing people and the teachers over the world. In a few days I am going to send scores to you. I send also a CD played by DUO SAIRA. I hope that you'll find them interesting enough to be introduced in the Free-Reed pages.
Sincerely,
Ari-Matti Saira
REPLY:
Dear Sir, Wonderful to hear from you and thank you so much for your kind words regarding The Classical Free-Reed, Inc. website. Certainly all of us on the staff have worked hard to make it worth your while to visit! I remember your name from the quartet score -- Astory -- Matti Murto sent to me. I wish you all success in your performing, composing, teaching, etc. and I do look forward to receiving your new scores & CD.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Sun, 24 Jan 1999 21:40:43 -0800
From: Gary Gillespie -- garygill@uswest.net
Subject: HARMONICA IN HISTORY AND PIONEER REFERENCES
I am currently preparing a paper on the use of the harmonica in western American history. I am particuarly interested in its introduction to America and also references in personal journals of early pioneers on the California, Oregon, and Mormon trails. I have gleaned some entries from personal journals, but would like to have more. Also, I am hoping to be able to receive copies of early newspaper, magazines, etc., ads on the harmonica. Is there any chance you might be able to provide me with some leads to sources for such information. I would be indebted for any help you might be able to give. Thanks in advance for considering my request.
Sincerely,
Gary Gillespie
Dear Gary,
I suggest you go to The Classical Free-Reed, Inc. webpages titled Links to Other Free-Reed Websites and then scroll to the section titled "Harmonica." Richard Martin is a scholar of the harmonica and produces the excellent publication Harmonica Educator. You might also contact Allan Atlas, the founder of Center for the Study of Free-Reed Instruments. There are other websites listed as well which might be able to assist you.
Please let me know when your paper is completed, perhaps we can publish it in The Free-Reed Journal.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Sat, 23 Jan 1999 22:18:34 +0100
From: renato vista -- renato.vista@excite.fr
Subject: "Classical Accordion" by Geir DRAUGSVOLL
Hello,
I would like to order the CD Classical Accordion by Geir DRAUGSVOLL. Is it possible to get it from France (eg via FNAC or Harmonia Mundi shops ?). The reference is SIMAX PSC 1096.
Thank you for your reply.
Regards,
Renato VISTA
REPLY:
Greetings, Renato.
As far as I know, you can order the CD through any commercial record store. In our reviews we always publish ordering information, when available.
Best,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Sat, 23 Jan 1999 12:29:05 -0500
From: Toni Meekins -- tonigil@sylvaninfo.net
Subject: Electronium
Dear Henry,
I ordered the cassette "Musical Glimpses" played by the UMKC Accordion Orchestra under the direction of Joan Cochran Sommers. The orchestra consisted of approximately 20-25 accordions with percussion and ocassionally when called for, harp or piano. The selections included music by Gershwin, Debussy, Bartok, von Suppe, Liszt, and Grofe. Sommers did a superb job of arranging some of the music, as did Galla-Rini. I was very impressed with the variety of sounds that were produced by the orchestra and the high quality of the performance. The orchestra sounded as if was made up of more than just accordions.
The writeup that accompanied the cassette mentioned that they used special accordions called "electroniums" that helped to provide color, particularly in the upper woodwinds and brass. At that point I put on the brakes and thought "what in the world is an electronium". In covering electronic accordions I felt that I had included all when I covered the Accorgan, Cordovox, MIDI, and the reedless accordions. I had never come across any mention of the electronium.
I immediately got on line and searched for any mention of the electronium. What I came across was Robert Berta's free-reed review of The Viennese Accordion Chamber Ensemble CD Everlasting Classics. Berta said that he "noticed something unusual (at least in my native United States) in the ensemble: an electronium". He stated that the electronium was one of the first electronic accordions developed about thirty years ago and is still popular in Europe. In the U.S. it is rapidly being replaced by the MIDI accordion. He added that to his knowledge The Westmont Philharmonia Accordion Orchestra directed by Stanley Darrow is the only American accordion ensemble to use an electronium. Was that before UMKC orchestra used it?
Anyway, I'd like to know more about the electronium. Do you have anything on it?
Thanks.
Toni
Dear Henry,
After I sent you my e-mail re the electronium I found a description of it on the net written by Jason M Mugen at mugen@spacelab.net that he had sent to SRRecords@aol.com with a copy to analogue@hyperreal.org., taken "from the beautiful site 120 years of Electronic Music".
In it he said that the electronium was designed by Seybold and manufactured by Hohner in Trossingen from 1950 onwards. He added that it was a monophonic electronic instrument resembling an accordion and that it had a 41-note keyboard with keys or buttons and 16 registration tabs. with the overall volume being controlled by the bellows.
Then he mentions the Electronium Pi which was a keyboard controlled electronic instrument with 20 stop-tabs for divide-down synthesis It had a 3-octave range transposable up or down within six octaves, controlling a single vacuum tube oscillator. The Electronium Pi was much used throughout the 1950's in Germany for both light and serious music. I also was used by several German Avant-Garde composers - Karlheinz Stockhausen on "Telemusik" and "Solo" (1952-56) and later on "Kurzwellen" (1968) performed by his own group with pianist Harald Boj=E9 (?) playing a modified standard electronium.
Date: Fri, 15 Jan 1999 16:19:31 -0500
From: Douglas J. Cumming -- cummingd@netcom.ca
Subject: Andrew Huggett
Hello Henry:
Last week I left a message on Andrew Huggett's answering-machine re: your recent CD review [The Free-Reed Review No. 150: Joseph Petric, Accordion, playing works by Soler, Mozart, Scarlatti, Molique and Andrew Huggett].
Andrew called me back today and was very pleased to see the review. I also went to Joseph Petric's web-page to see whether there were any reviews yet re: this 1993 CD; however, the link on reviews did not seem to work for me:
http://www.interlog.com/~jpetric/CDs.html
http://www.interlog.com/~jpetric/CDRev.html
I'm sure that Joe Petric will add this to his page, in time.
Sincerely,
Doug Cumming
Ottawa, Canada
Date: Wed, 20 Jan 1999 07:18:57 PST
From: eryk.eisenberg@excite.com
Hello,
i don't know if my last Emailhas been sent ... So i try to send it to you again:
I'm french, anesthesiologist, and i play piano and guitar. I love bandoneon for a long time. I have just bought a used-one a few days ago. It's a very nice instrument, 20' years old, in perfect state of playing. I'm working alone and i'm now looking for a very good lurning method. Could you please advice me about that? I really think that this instrument and this kind of music will know follow me all my music-life long.
Thank you very much.
Eryk Eisenberg
REPLY:
Hello Eryk,
you can find a list of some tutors at http://laue.ethz.ch/cm/htm/band/node31.html but most of them are not more available or for the bisonoric instruments. Since you say that your instrument is only 20 years old, it might be a french unisonoric one, presumibly a Peguri type. I do not know about tutors for such instruments, may be Olivier Manoury mailto:manoury@club-internet.fr can help you.
greetings
Christian
Christian Mensing
Lab. fuer Anorg. Chemie tel (+41) 1/ 632 2894
ETH Zentrum CAB B17 fax (+41) 1/ 632 1149
Universitaetstrasse 6 e-mail mensing@inorg.chem.ethz.ch
CH 8092 Zuerich http://www.inorg.chem.ethz.ch/group/mensing
Date: Tue, 19 Jan 1999 23:58:46 -0600 (CST)
From: flutist@webtv.net
Subject: Question re Lilly article
I am a classically trained professional flutist, interested in ethnomusicology.
First, does Joseph Lilly have an e-mail address? I would like to contact him.
Second, he mentioned a Khaen hok with six tubes. My instrument, received from Thailand missionaries (Paul and Paula Jarot) stationed in Chaing Mai, has only five. It is also not as delicate - the bamboo seems very thick, and the gourd that the bamboo is set into is also huge, compared to the picture of Mr. Lilly's Khaen. (Gourd neck = six inches, gourd body about 4-5 inches square.
Do I have a Khaen? Or some other type of free-reed? I have enclosed a photo, I hope you can see it.
Thanks for your help.
Sheila Courtney
Lewis University
Romeoville, IL
REPLY:
Dear Sheila,
I do not know Joseph Lilly's email address; however, you can write to his professor at Coe College: James Cottingham at jcotting@coe.edu. I'm sure he could assist you in the identification of your instrument!
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
REPLY
From JCOTTING@coe.edu Thu Jan 21 09:46:34 1999
Date: Wed, 20 Jan 1999 19:41:10 -0600
From: James Cottingham -- JCOTTING@coe.edu
To: flutist@webtv.net
Subject: What instrument do I have? -Reply
What you have is a close relative of the khaen, which goes by various names. For more information I would suggest the following article by Terry Miller: "Free-Reed Instruments in Asia: A Preliminary Classification" in Music East and West: Essays in Honor of Walter Kaufmann Pendragon Press, 1981
Or better yet, you can get in touch directly with Terry Miller, ethnomusicologist at Kent State Univ. You can reach him by e-amail: TMiller666@aol.com
I know a little about these instruments, and have done some acoustical experiments on them, but Terry Miller is the real expert on the free-reeds of Southeast Asia. If you are interested in playing it, he is the one to contact.
Jim Cottingham
REPLY:
Date: Sat, 23 Jan 1999 00:21:46 -0600 (CST)
From: flutist@webtv.net
Subject: The reply from Terry Miller!
Thank you for your help in locating the information requested...CHEERS!! Thanks again for your informative website and leads - I truly do appreciate it!!
CHEERS!!!
Sheila Courtney
REPLY:
From TMiller666@aol.com Sun Jan 24 02:41:44 1999
Date: Fri, 22 Jan 1999 12:38:15 EST
From: TMiller666@aol.com
To: flutist@webtv.net
Subject: Mystery Instrument
Sheila, The instrument is easy to identify. It is a gourd free-reed pipe from N. Thailand. Easily bought by tourists. The name varies by ethnic group. A common name is "naw". Most of the minorities of N. Thailand have them, such as Akha, Lisu, etc. The Hmong instrument, though, is different. I have several and a student of mine last summer went nuts there and bought about a dozen. He registered in New York with the union to play them. Indeed, Alan Atlas knows him probably--Joe Kaminski. You can see a lot of pictures of this inst. in PEOPLES OF THE GOLDEN TRIANGLE by Paul Lewis.
Date: Tue, 19 Jan 1999 19:18:18 -0500
From: Leon and Lee Zukowski -- lleonz@innet.com
To: The Classical Free-Reed
Subject: Re: Nina and Lena CD
Henry,
Many, many thanks for your comprehensive review of the Nina & Lena CD! I hope their works, like yours, are a further inspiration for others to embrace the "classical free-reed"!
Warmest personal regards,
Date: Sun, 10 Jan 1999 21:06:42 -0000
From: Dr.Scheibenreif -- herbert@accordion-cd.co.at
Subject: Best wishes for 1999!
Dear Henry,
best wishes and all the best for 1999!
I visited your homepage and I can only congratulate you! It surely was a tremendous effort to achieve this site!
May I give some information:
Lech Puchnowski has now an email: accpuch@chopin.edu.pl
There are also another Austrian accordionists who should be mentioned in your list:
Dr. Georg Schulz
Schönaugasse 17/I
8010 Graz
Tel: +43-316-835967
He teaches the accordion at the Graz Hochschule, performs especially new chamber music and works a lot with composers.
Klaus Paier
Mosern 17
9433 St. Andrä
Tel: +43-4355-3318
He is Austria's only accordionist with a jazz diploma from the conservatory in Klagenfurth (3 CDs).
If you want you could also mention myself. You can find information about me at: http://www.accordions.com/Scheibenreif
Kind regards also from Silvia,
Herbert
Subject: The Decline of The Accordion
From: DOKTORS9549@duq3b.cc.duq.edu (Doktorski Henry)
Date: 1999/01/05
Newsgroups: rec.music.makers.squeezebox
From what I have read, the decline in the popularity of the accordion in America was in the jazz/big band/ethnic/novelty fields. While researching my article "Gershwin and the Accordion" (see The Classical Free-Reed, Inc. website: http://trfn.clpgh.org/free-reed) I discovered that from the 1920s through the late 1950s (approximate) many network radio programs featured accordionists. Charles Magnante appeared regularly on the Major Bowes program which was syndicated nationally.
Cornell Smelser performed Gershwin's "Rhapsody In Blue" in its ENTIRETY with a big band on radio, at the time he was one of only THREE performers who were permitted to play the work on the air waves, the other two were organist Jesse Crawford and composer/pianist Gershwin himself.
The market was so strong for accordion that the second recording of Gershwin's Rhapsody (released in 1928) featured the accordion duet team of Basil Fomeen and Nick Hope. (The only other recording available on Victor Record Co. was by Gershwin himself with the Paul Whiteman Orchestra released in 1924).
The third recording was by Jesse Crawford (1933).
Truly, the 1920s through the 1950s were a boom time for the accordion in mainstream music circles.
Only in the recent decade has the accordion again been featured, but not in mainstream circles, only in folk music (zydeco, cajun, etc.) although I must admit that tango has been gaining acceptance in concert music society. It actually has been for a long time in a way: Stravinsky as well as other classical composers wrote tangos, but then again, they also wrote polkas which are not exactly mainstream music!
By the way, accordion is actually only a hobby for me, as I can't make a living playing the music I like on it (classical). Professionally, I am a pianist, organist & choir director.
Sincerely,
Henry
From: Ralph Stricker -- bjpro21@ix.netcom.com@ix.netcom.com
Newsgroups: rec.music.makers.squeezebox
Subject: The Decline of The Accordion
Date: Tue, 05 Jan 1999 06:07:13 GMT
I first noticed that things were changing for the accordion around 1958. I pleaded with many members of the industry to stop being complacent. I saw the death knell in 1962 and knew that the end was near. I had at one time 600 students at my music school. 500 were accordion students and the rest were a variety of piano, guitar, drums.
By 1964 after the Beatles come to the US we were down to 400 accordion and the rest were guitar. 1966 I had 250 accordion students and 200 guitar students. In 1968 I sold the school with 150 accordion and the rest guitar. I should of "joined" them instead I wouldn't switch instruments. I hated the guitar as I had to employ teachers who in years past I wouldn't even acknowledge them as musicians. Not because I disliked guitar but because they were horrible players. I could not compromise my integrity.
Regards,
Ralph Stricker
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