Letters in response to Dr. Paul A. Magistretti's concert review of the
Napa Valley Symphony and Peter Soave.
Dr. Magistretti has brought up a good point regarding internal
acoustics, construction and the use of electronic sound reinforcement for
free-reed instruments. During my last meeting with Peter Soave he proudly
showed me the latest innovation on his Pigini bayan: screened vents on the
left-hand manual which pointed outward to the audience, not side
ward as on other accordions. Unfortunately, most accordion manufacturers
do not even bother to cut holes in the case of the left-hand mechanism to
allow the sound to dissipate. (Fortunately for me, my own instrument, a
Victoria accordion, has left-hand sound holes which allows much of the
left-hand music to emerge.) From my own limited experience performing with orchestras (Lorin Maazel's Music for Violoncello and Orchestra and Piazzolla's Libertango with the Pittsburgh Symphony Orchestra, Mauricio Kagel's Orchestrion Straat with the Tanglewood Festival Orchestra, and Paul Hindemith's Kammermusik No. 1 with the Pittsburgh New Music Ensemble) I remember that in these cases the music was orchestrated in such a way that the accordion was, for the most part, able to project through the orchestra. Yet when I played Galla-Rini's Concerto No. 1 with the River City Brass Band I had to use two microphones which were placed perhaps one foot (.3 meters) from the two grills of my instrument.
Certainly the accordion (and bandoneon) does not have the acoustical power to solo with a large orchestra, especially with brass and percussion without electronic sound reinforcement. The concertina was originally designed for parlor music, not orchestra concerts! Is it any wonder that in 1883 Tchaikovsky used FOUR accordions in his Orchestral Suite, No. 3? Regarding the tuning of the bandoneon reeds, musette tuning is not an option, as I believe bandoneons are traditionally tuned with pure intervals. It would be like tuning the piano strings slightly sharp and flat; all you get is a honky-tonk piano, not an instrument suitable for the concert hall.
Another problem is the sound of the accordion reeds; they are thin and tinny compared to most other instruments. To compensate for this, accordion builders have created tone chambers within the instrument, heavy wooden baffles which dampen the high frequencies like a muffler on a truck to make the timbre more round and pleasing. Naturally, this cuts down on the volume considerably.
Let's use another analogy and compare the accordion to a singer. There are many types of singers, but none can compete with a large orchestra with the exception of the dramatic soprano and the heldentenor, and then only in the higher part of their range. These Herculean singers appeared when Richard Wagner began writing operas which demanded superhuman voices, and consequently a new type of robust voice emerged to fill the roles. Perhaps in the future a new type of free-reed instrument will arise also.
Canadian concert accordionist Joseph Petric and accordion technician Leo Niemi have made a first step by creating an instrument which includes several acoustical-enhancing measures, such as strategically-placed sound posts, sound holes, resonating chambers, silicone treatment, patented reed blocks, reed chambers and wood combinations. This instrument was featured on Mr. Petric's new CD Padre Antonio Soler: Nine Sonatas which will soon be reviewed in the pages of The Free-Reed Review.
Readers, do you have any other thoughts on this?
Date: Wed, 2 Feb 2000 03:25:49 +0100
From: wwakker@tref.nl
Subject: bandoneon tuning
Dear Henri,
Regarding the tuning of bandoneons, musette tuning was just as common as octave tunning in Germany (early 1900s). I even believe it was the standard tuning on the Einheits (standard) instruments. Instruments in Reinische lage, which became popular in South America, were tuned in octaves.
Wim Wakker
Netherlands
Date: Sat, 19 Feb 2000 06:50:35 -0800
In his review of Peter Soave's performance of Piazzolla's Concerto
for Bandoneon and Orchestra, Dr. Magistretti articulates well the
dilemma faced by free-reed players in concert situations. Having devoted
the musical portion of my life to somewhat quieter instruments
(harpsichord, clavichord, accordion and bandoneon), I can personally relate
to the predicament Peter Soave and the producers of the Concerto
must have faced. An artist must make tough choices when playing any of the
above instruments in a modern concert setting, up to and including
amplification if necessary. I must, however, take exception to Dr.
Magistretti's suggestion that the bandoneon undergo an alteration in tuning
or structure in order to make its voice more easily heard.
During the early years of the twentieth century, Wanda Landowska almost
single-handedly swept a hundred and twenty years of dust from the
harpsichord and revived its capacity to make music. She was, however, not
satisfied with the "limited" volume level or tuning stability of the
antique instruments, so she enlisted the aid of the prestigious piano firm
of Pleyel. They applied the "widsom" of modern piano construction to the
harpsichords they built for her, altering the instrument's basic fabric in
the process. Instead of harpsichords, they built plucking pianos. These new
instruments were no louder or stable than the old ones, and their massive
cases and iron frames deadened the lovely resonant timbre possessed by the
old instruments. In addition, it was impossible to produce on them a
genuine legato or play in a cantabile style. Today, harpsichordists thank
the Muses that these monstrosities have all but disappeared from the
concert music milieu! The antique models are again the standard for
harpsichord sound and construction.
I would submit that there are significant parallels between the
harpsichord and bandoneon, and not just in volume level or the fact that
the thin wood cases of both instruments participate in resonance and sound
production. Both instruments evolved to fill or were adopted into a niche
in a musical ecosystem. Each is the result of a dynamic and complex balance
of compromises involving instrument design, type and strength of
construction materials used, their acoustical properties and the strengths
and weaknesses of making music with them. In turn, the music written for
each instrument takes full advantage of its peculiarities of sound,
materials and construction. Alter any part of that balance and the
relationship between instrument and music begins to change. The more
changes one makes, the more noticeably the relationship deteriorates. The
Pleyel "harpsichord" was a case in point. The plaintive cry of the bandoneon (the Alfred Arnold bandoneon in
particular) is synonymous with Argentine Tango and Astor Piazzolla's music.
In South America the bandoneon is called "the soul of Tango" and has become
part of the indigenous musical mythology. Tango musicians in Buenos Aires
and Montevideo are not only unwilling to accept changes to the bandoneon,
they are unwilling to accept any new instruments! There is a active
industry surrounding repairing and refurbishing 50 to 70 year old
bandoneons, simply because no other sound will do. Over the course of the
last several years, all efforts at introducing new bandoneons from Germany
have met with failure. A musette tuned bandoneon would be laughed off the
stage, at least in Argentina where the distinction between accordion and
bandoneon has been appreciated for over a century!
I would offer that choosing the proper venue, reducing the accompanying
ensemble size or, as Dr. Magistretti wisely suggests, judiciously
amplifying the bandoneon are easier, more satisfactory and less invasive
methods of dealing with the problems associated with playing this
instrument in a concert setting. Pitting a solo bandoneon against an
orchestra in even a small concert hall is to assign to it a role that it
was never designed to fill!
Gregory A. Vozar
Greg's Bandoneon and Tango Pages:
http://www.bandoneons.com
From: invisual@gte.net
Dear Henry, the letters by you and Greg have been stimulating and led me to
some further thoughts on the bandoneon sound. Perhaps someone with perfect
pitch could answer these questions. It seems to me that Piazzolla's
bandoneon is bright, perhaps sharp. I was listening to his Vienna Concert of
1986 Tritezza de un Doble A and I wondered the following: is
Piazzolla's beloved Doble A tuned A = 440? Pitch has varied over the
centuries. In Handel's time (1699) it was 404, in the mid nineteenth century
it was 448; at the turn of the century in France and other countries it was
435 and in the 20's it settled around 440. However, it has often varied from
country to country and Germany tended to tune higher -- which might include
all those German made bandoneons which give the tango it's soul. Variations
still exist today. Of course, the old German bandoneons could have been
re-tuned, but I wonder if they were and if that bright A = 448 (or more)
wasn't inherently part of their sound (and charm). Piazzolla has always
sounded bright and sharp to me when he cuts through the other instruments
(apart from amplification). If that is the case -- that he's sharp -- then,
his instrument supplies a de facto mussette relative to the other
instruments and that may be the Tango sound we know and love. Also, I wonder
if both sets of reeds are really tuned in octaves to exactly the same pitch
as a rule and, in fact, how accurately they can be tuned and to what
pitch.
Another question -- when Piazzolla pulls hard during his
emphatic moments does he bend the pitch slightly, sharpening the note. It
seems so to me -- but I await other opinions -- that he does. In fact, it
seems his passionate sound results from this sharpening attack on the music
-- an attack on emotions as well as pitch -- especially on the highest notes
(with the thinnest reeds). Understand, I'm not deconstructing Piazzolla's
passion, his norteño soul or the sheer artistry which I greatly admire (I
own 30 Piazzolla CDs so I am obviously a fan), I'm just curious and
wondering about such matters.
Relative to Peter's concert, I wonder if Mr. Soave had
attacked certain phrases harder, almost tonguing them as one does
with a brass or woodwind instrument -- and as Piazzolla often does with an
abrupt pull and knee action -- if he might have achieved (perhaps) two
things: one, certainly an increase in volume; two, pitch bending (maybe)
introducing the sharp, cutting sound characteristic of the bandoneon and
breaking through the A = 440 orchestra with a brighter sound. Understand,
I'm not discounting Greg's remarks about a reduced ensemble or my call for
amplification. Also, I wonder if Mr. Soave's bandoneon is tuned A=440 and
how this relates to Piazzolla, for Piazzolla's sound is the tonality that
has captured the world's imagination.
If my remarks aren't utter nonsense, introducing an ad
hoc passionate mussette intensification (to a slightly sharp
instrument) definitely gives one a different expressive feeling than when
instruments are purposely detuned per se, like Tyrolean accordions
(which have their own beauty, but sound nothing like a bandoneon).
Might it not also be the case that there are very slight variations (say
1-5 cents) in Piazzolla's tuning from one semi-tone to the next?
Variations which by themselves might not qualify as musette tuning but
which when "randomly" mixed (some octaves slightly sharp, some slightly
flat) across the keyboard would contribute a certain "bite" to the sound
quality? It would seem to me that the natural tendency of an instrument
to go out of tune might in this case be a desirable quality and hence the
attraction of a 60 year old instrument versus fresh from the factory
tuning.
Paul A. Magistretti
Date: Tue, 22 Feb 2000 10:12:25 -0800
Since I've already put in my "two cents," let me "up the ante" with a
couple more comments. These are more as asides than anything for
publication.
Having owned several early keyboard instruments, I did all my own tuning
for the 15 yrs or so that I played them. I can remember how to set the
bearings for a number of meantone and well temperments even now. While I
don't have perfect pitch I do have apt ears as far as slight variations in
pitch are concernedbeing able to "count beats" is a necessity for a
tuner. I will listen to the recording I have of the Piazzolla Concerto
(w/Astor himself on bandoneon) and see if I detect a slightly raised pitch
from his instrument. I would suspect I will hear that this is so.
My former bandoneon teacher, Tito Sasso, had his bandoneon tuned to A448
for exactly the reasons that Dr. Magistretti suggests. (Mine is A440 and
was tuned in Montevideo, Uruguay just before I purchased it, so I don't
think there is necessarily a South American bias or standardization as far
as this is concerned.) I think it highly probable that Piazzolla did have
his instrument tuned sharp in order to make it stand out against other
instruments, although I doubt it was quite as sharp as my teacher's.
My experience with free-reed instrument, however, is the opposite of what
Dr. Magistretti suggests. Usually, a sharp tug on the bellows produces a
flat rather than sharp tone. A bayan with flexible, hand-made reeds is
famous for going flat in the bass when a sudden sforszando increases the
air pressure against the reeds.
That's two more cents. (There are 1200 to an octave!)
Greg Vozar
Date: Tue, 22 Feb 2000 16:25:45 +0100
Please apologize my intrusion to this conversation, but I feel the need to
answer to some of the stated questions. I'm member of the bandoneon list.
Paul Magistretti wrote:
Piazzolla's instrument is tuned strictly equal temperature.
Magistretti continued:
The bandoneons left the factory until 1941 with a pitch of A=435, later
A=440. Most luthiers in Argentina were of italian origin and they applied
the italian /french pitch of A=445 and higher. Seldom you'll find there
instruments not around A=445. Today they are retuned to A=442 because it's
the most frequent tuning for concert pianos.
The sharpness of the sound (not the pitch) is originated by the
construction of the instrument which consists for the right hand of a 8'
reed in perpendicular position to the sound outlet (don't know the right
term in english) and the other in a parallel fashion, thus having a
minimum of high frequency absorption. The brilliance of the instrument
depends on the used bellow pressure. Please note that Piazzolla played
standing and which enhanced the accents and the applied bellow pressure.
The bass side of the instrument prevents the high frequency to be audible
and the sound is like of an other instrument.
Magistretti continued:
Magistretti continued:
My question: did Mr. Soave play sitting? (please see my recent
statement)
Christian Mensing
Date: Wed, 23 Feb 2000 12:50:00 -0800
At 01:51 PM 2/23/00 -0500, Christian Mensing wrote:
I agree with Christian 100%. This is especially true for free-reeds, and
true to a lesser degree for almost any fixed-pitch keyboard instrument, for
the reasons he mentions and for others as well.
Tuning and temperment are about the relationships *between* pitches rather
than the pitches themselves. Organ tuners are well-aware that an organ
perfectly tuned using electronic equipment has an exceptionally harsh sound
when compared to one tuned by ear (including all octaves up and down from
the original temperment bearings), no matter what the temperment.
There's a name for the phenomenon (which I don't remember at the moment),
but it is similar to an architectural principle. Construct a perfectly
straight horizontal line or edge and it will appear to sag downward in the
middle. Construct the same edge with a slight upward bias in the center and
it will appear straight. Tune an instrument like the organ with notes from
16Hz to those that approach inaudibility (for some folks) in the treble in
electronically perfect octaves across the full range and the extremes tend
to sound sharp when compared to the middle. Tune the extremes
ever-so-slightly slight flat and it will sound in tune throughout. (This is
something we tend to do naturally when tuning by ear.)
The bandoneon doesn't have the range of a large pipe organ, but the same
principle applies. This phenomenon was noticeable on my French harpsichord,
5 octaves, F (fa) to G (sol), which had roughly the same range as a
bandoneon, 5 octaves C (do) to B (si).
Let me preface my comments with this caveat: I think it very dangerous to
make hard and fast judgments of any kind about these matters from
recordings. If the mixing boards in use at the time Piazzolla recorded
were capable of considerably altering sound, then modern digital equipment
can totally change the character of a performance because it can actually
raise and lower pitch! There is no way to know what has happened to this
recording over the past 22 years, especially when it was transfered to a
digital medium.
However... I will report my subjective findings from the compact disc. To
me, it seemed that the instrument Piazzolla used for this recording was
tuned somewhat sharper than the accompanying orchestra. I was not able to
determine this from the first and third movements because they were so
dissonant and much of the music was played with marcato accents. Where it
became clear was in the slower and softer second movement. Here the
bandoneon has sustained notes and chords against orchestral accompaniment.
Here I could hear beats, especially when an instrument in the ensemble was
playing in unison with the bandoneon.
Now, having said that, I reiterate what I said in the prior paragraph.
It's very difficult to determine these things from recordings due to the
processing to which electronic signals are subject when put on tape. It's
also possible that these audible beats were simply the predictable
difference between a bandoneon tuned in equal temperment and the string
players tending toward just intonation.
So, here are a few more cents! I must try and dig up my Owen Jorgensen
book, "Tuning the Historical Temperments by Ear." He goes into some of the
physics of the above phenomena as well as giving the directions for a
zillion different keyboard temperments.
Greg Vozar
Date: Fri, 25 Feb 2000 15:45:16 -0800
I'm enjoying the responses by Christian and Greg. I wonder whether Greg's
teacher actually had the guitar and other instruments tuned to his A = 448
bandoneon. What would the point be? It seems to me he would have left the
other instruments tuned to A = 440 giving him an edge in brightness;
otherwise, his higher tuning was irrelevant.
The Piazzolla album I refer to is Messidor #15970 Tristezas de un Doble
A and it's interesting because in the title selection Piazzolla plays
a 6:28 solo before the others come in. I've found few extended solos by
Astor (he does a couple of complete solos on an album called Sur),
but the Tristeza album stands out by really letting the bandoneon
sink in before the others begin to play. At times it seems the
accompanying quartet is flat, but I'll await the opinion of others.
I know larger reeds tend to go flat under increased pressure, but I wonder
if the thinner, higher reeds behave the same? Does attack and increased
pressure flatten them, or could it have a different effect on the higher
octave set at the very highest notes -- maybe flattening the lower octave
and sharpening the higher? Discrete pressure on some wind instruments can
drive them sharp, whereas at a point beyond discretion they go flat. Did
Astor control pressure to achieve his desired effect at the proper
time?
On the aforementioned CD there are moments when Astor is playing the left
hand for extended periods and the tonality is quite different (well,
naturally), but I wonder if there is some physical tuning differences (as
we've been discussing) between right and left hands -- or just the normal
differing tonality between the reeds.
I can't find where I read it, but Casals talked of tuning his cello
differently for different kinds of music and that such a control of tuning
was a creative part of string instruments and too often overlooked by
artists. Of course, the bandoneon wouldn't be fooled with, but what about
the other instruments in the group? At times the violin and bass sound
flat -- and of course the piano could be tuned especially for his concerts
and recordings. I know we're dealing with recording media and all the
vagaries therein, but I think free reed artists have to become more
involved in and interested in the physical presentation of the instrument
(returning to the theme of my review). Of course, artistic concerns are
paramount, but great art unheard is wasted. I think our discussion
is valuable if we make free reed artists more aware of the physical
presentation for their instrument. We have a very young instrument with
many acoustic qualities and some considerable disadvantages all of which
need careful consideration.
Is this a possibility -- that Piazzolla's group was tuned lower than A =
440; say, at A = 435? That's why I wondered if anyone out there with
perfect pitch might give a listen.
In answer to Christian, Mr. Soave played standing with one knee elevated.
Also, I noticed there were hanging microphones over sections of the
orchestra -- so he was even further disadvantaged. Of course, if the
requirements of free reed instruments were well known no one would have
let him perform without acoustic support -- it was like throwing him to
the wolves. However, neither the conductor, orchestra nor sound engineer
(if there was one) had any concern for Mr. Soave. The lesson here is,
Peter must anticipate such neglect in the future and, therefore, take
steps to control the proper presentation of his instrument -- if need be
he must have his own sound person in tow (or at the very least, another
pair of ears to determine what his needs are). He can't just go out and
play, it's like playing Russian roulette with his career. Also, since he
is one of our very greatest performers on free reed instruments, it does
the instrument(s) a great disservice, if he plays but isn't heard --
people may come away thinking there's less there than meets the ear.
Indeed, the reviewer Mr. Soave mentions who thought him an excellent
player, but hated his instrument may have been reacting to how it was
heard on that occasion and lacked the intelligence or experience to
understand why he was put off or irritated. Peter may be a long time
victim of sonic neglect and abuse, playing his heart out and not
making contact. And what good is his considerable talent, his years of
dedicated practice, his triumph in competitions, his superb interpretation
and incomparable execution if he is not properly presented and heard?
Paul A. Magistretti
Date: Wed, 1 Mar 2000 01:28:17 -0500 (EST)
I just performed Piazzolla's Double Concerto for guitar, bandoneón and
strings in two concerts with the Brooklyn Philharmonic last weekend. The
acoustics of the hall, as well as the balance between bandoneón and
orchestra was superb. The New York Times wrote, "The Piazzolla profited
from two absolutely splendid soloists. David Leisner played the guitar,
Peter Soave the bandoneón. Their parts are elaborate and difficult and
were made to breathe with great naturalness. Piazzolla's music is of the
streets, but these particular streets are delightfully landscaped and
maintained; they may even be paved with gold."
The sound in Brooklyn was slightly enhanced by microphone.
Facts and differences between Napa and Brooklyn appearances:
2) Napa hall acoustics were very bad and Napa orchestra had dynamic
problems; generally too loud. Brooklyn's orchestra played with
wonderful dynamic contrast and awareness.
3) Napa newspaper review was as equally excellent as NY Times.
4) In Napa..... I was aware of the hall problems and orchestral
non-capabilities to adjust volumes. There was also a solo violinist on
the
same program that faced the same situation. I felt that adding
amplification on my instrument would only complicate the over all
experience for me, orchestra, and audience. Would a (the) violinist
perform his concerto with a microphone? No! Why should I, than?!?
Segovia never performed with microphone!
In my numerous experiences with orchestras I have found that certain
orchestras like to amplify and others do not. Ideal sound situations
don't always exist.
5) TUNING: All orchestras MUST tune to the accordion or bandoneon;
whether it is A=440 or A=444. Naturally, orchestras are tunable on the
spot where we aren't.
Sincerely
Peter Soave
From: gregvoz1@pacbell.net
Subject: Soave review
Sent: Sunday, February 20, 2000 1:49 PM
Subject: Napa response
From: Gregory A. Vozar
From: mensing@inorg.chem.ethz.ch
Subject: Re: Napa response Might it not also be the case that there are
very slight variations (say 1-5 cents) in Piazzolla's tuning from one
semi-tone to the next? Variations which by themselves might not qualify
as musette tuning but which when "randomly" mixed (some octaves slightly
sharp, some slightly flat) across the keyboard would contribute a certain
"bite" to the sound quality? It would seem to me that the natural
tendency of an instrument to go out of tune might in this case be a
desirable quality and hence the attraction of a 60 year old instrument
versus fresh from the factory tuning.
It seems to me that
Piazzolla's bandoneon is bright, perhaps sharp. I was listening to his
Vienna Concert of 1986 Tritezza de un Doble A and I wondered the
following: is Piazzolla's beloved Doble A tuned A = 440?
I do not have the Vienna concert to check the used pitch in
that case, but most of his instruments were tuned A=442 Hz. A tango
bandoneon must not have musette tuning and the dual reeds are tuned
exactly one octave apart. Due to the pitch bending observed at higher
pressure, you can find deviations in some cases and one of the mayor
challenges of the bandoneon tuner is to find the best coherency of both
reeds to fit over the widest possible range. When Piazzolla pulls
hard during his emphatic moments does he bend the pitch slightly,
sharpening the note. It seems so to me -- but I await other opinions --
that he does.
You are quite right. Piazzolla uses the pitch bending as an
expressive element. Relative to Peter's
concert, I wonder if Mr. Soave had attacked certain phrases harder,
almost tonguing them as one does with a brass or woodwind
instrument -- and as Piazzolla often does with an abrupt pull and knee
action -- if he might have achieved (perhaps) two things: one, certainly
an increase in volume; two, pitch bending (maybe) introducing the sharp,
cutting sound characteristic of the bandoneon and breaking through the A =
440 orchestra with a brighter sound.
The absolute pitch is not a reason for a sound sharpness!
This is only originated by the sound spectrum and the relative decay of
the higher partials.
Zurich, Switzerland
From: gvozar@monogramaerospace.com
Subject: Re: Napa response
It is nearly impossible to tune a bandoneon really perfect. There are in
fact some tricks to make a tuning apparently perfect, but not for the
pressure range used by Piazzolla. This is basically due to the
insufficient resilience for the larger bass reeds. They should be stronger
than the available material, while the upper reed is usually too strong.
When the pitch drops at higher pressure, the bass reed drops faster than
the upper reed and beats become evident.
Mensing continued: As I said in my previous
message, actually bandoneons are tuned 442, or 440 if tuned for
aficionados which play usually with A=440Hz pianos.
Even with international concert standards in place, there is still some
variance although not as great as 100+ years ago. My teacher's bandoneons
were tuned A/la=448 at his request. He liked the sharp sound, although it
forced his guitarist and bassist to raise the pitch of their instruments
as well since they tuned to his bandoneon. In the end it didn't accomplish
much because everyone played sharp! Mensing continued: The drop in pitch is common
to all free reed instruments. There are few exceptions for some
differently shaped reeds. Once more: the absolute pitch is not responsible
for the brilliant sound. However, at higher pressure the "sharpness" of
the sound increases because of the relative higher intensity of high
partials. That's also common to all free reed instruments.
I support Christian in this as well, but I must mention the results of my
listening test as it would *seem* to contradict this to some degree. I
listened to my recording of the Piazzolla Concerto last night; it was
recorded 1987 in the USA with St. Lukes Chamber Orch, Lalo Shifrin
conducting, if memory serves.
From: invisual@gte.net
From: SoavePeter@webtv.net
Subject: The Brooklyn Philharmonic:
1) Brooklyn conductor is WORLD class; Napa's is "only" very good.
Detroit,
Michigan
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