The Classical Free-Reed, Inc.: Readers' Letters 2001
The Classical Free-Reed, Inc.
Readers' Letters 2001
 Suggestions, Comments, Criticisms!

From: Ron.Schaumburg@dowdenhealth.com
Subject: History lesson?
Date: Mon, 17 Dec 2001

Hello,

I recently transcribed a journal kept by my great-great-grandfather, a gold miner in California in the late 1850s. He mentioned that he bought an "accordeon" for $13. I'm curious if anyone could describe the type of instrument he likely had (any ads or other images?), how it played, and the songs he might have learned. Grateful for any information you can provide.

Yours,

Ron Schaumburg

Dear Ron,

In all probability, he played a semi-tone button accordion. To see an illustration of this instrument ca. 1850, as well as music your great-great-grandfather might have played, see The Complete Preceptor for the Accordeon by Elias Howe, Jr.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: Ron.Schaumburg@dowdenhealth.com
Subject: RE: History lesson?
Date: Mon, 17 Dec 2001

Dear Henry,

What a wonderful find. Thank you so much. Something tells me that's EXACTLY the instrument my ancestor would have played. And to see the sheetmusic that he likely performed... I'm amazed.Thanks for this wonderful holiday gift.

Yours,

Ron Schaumburg

From: rwillihn@netscape.net
Subject: Accordian chords
Date: Mon, 03 Dec 2001 13:41:52 -0500

I'm just learning and have a Honer IV Student model. Is there a book or someone who can tell me what chordes that I have on my model that I can substitute for more complex chordes in music that I find? Any help will be appreciated.

REPLY:

I seem to remember seeing such a book (or was it a website?) which explained how to get various altered chords by using various combinations of left-hand chord buttons, but I'll be darned if I can remember where I saw it. Readers, do you have any leads?

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: invisual@gte.net
Subject: Chords
Date: Mon, 10 Dec 2001 15:47:20 -0800

Lou Soper has prepared a booklet on advanced chords & I know when he plays he fills out 9ths, 11ths, etc. by using the left hand in combination & he teaches this technique. mailto: louhsoper@aol.com

Paul Magistretti
San Francisco, California

From: gertiebruin@hotmail.com
Subject: Accordion & Saxophone
Date: Thu, 22 Nov 2001 10:55:18 +0100

Mr. Doktorski,

Do you know original compositions in America for accordion and saxophone?

Best wishes,

Gertie Bruin
Netherlands

Dear Gertie,

See if you can get a copy of Helka Kymalainen's "Hamonikka taidemusiikssa" It lists perhaps a dozen pieces which include accordion & saxophone by U.S. (and many other nationalities) composers. Unfortunately the list is not organized according to instruments and I do not have time at the moment to go through everything.

Contact address can be found at http://trfn.clpgh.org/free-reed/reviews/helka.html.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: Dave@bdavid.freeserve.co.uk
To: webmaster@henrydoktorski.com Subject: Henry Stanley
Date: Mon, 19 Nov 2001 00:07:20 -0000

Hello Mr Doktorski,

I'm trying to find some information about an arranger of music for both the English and Duet concertina who lived in the Birmingham (UK) area during the 1930's. Although he was a prolific producer of arrangements (many, though by no means all, of which are now in the library of the International Concertina Association) almost nothing is known about him. I wonder if you have any information and I would be most grateful to hear from you.

Dave Bissitt.

Readers, can you help Mr. Bissitt out? Please send any info here to me also for publication on this page.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: wwakker@tref.nl
Subject: concertina etc.
Date: Sun, 4 Nov 2001 12:03:07 +0100

Bachelor of Music Concertina preparation program, Fontys University

In a few weeks the preparation program starts again for anyone interested in taking the audition exams (July 2002) for the B.M. concertina (English) program at the Fontys university in the Netherlands.

The preparation program includes, besides information on finances, housing, repertoire, music theory, also coaching and the repertoire/material required for the concertina audition and theory exams. For prospective students outside the Netherlands, the correspondence will be by email. There is no cost involved.

Anyone interested should contact me at: wwakker@tref.nl

Wim Wakker

From: lvaught@muhlon.com
Subject: Need your help
Date: Wed, 31 Oct 2001

Tonight a dear lady in my choir brought her Clavietta to me to see if I could repair it. This is the first time that I have seen this instrument and when I played it...it sounded a dischord even though I didn't depress the keys.

I do work on pianos on the side and started to dissect when I got home. It appears that several of the rubber gaskets that seal the holes have either gotten stretched and are leaking or they have become brittle. Also one of the stem-screw assemblies on a sharp has broken off and needs to be replaced.

I would appreciate if you would mind to email an address or telephone number to a supplier that might carry spare parts...hopefully not in ITALY!

Thank you for your help and helping discover another niche in the spectrum of music.

Larry Vaught
Central City, Kentucky

Hello Larry,

Hmmnnn. I had to look up the word "Clavietta." I think it is only used once on the entire website for The Classical Free-Reed, Inc. From the letter from Pat Missan on our "2000 Letters" page, I gather it is a type of melodica. Any accordion repairmen in your neck of the woods?I don't even know if accordion repairmen would be able to get parts for a melodica. Where did she get the instrument? It sounds like it might be a few decades old. Anyway, I will post your letter on our "Readers Letters" page. Perhaps someone will see your letter who knows how to help.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: lvaught@muhlon.com
Subject: Re: Need your help
Date: Sat, 3 Nov 2001 07:30:46 -0600

Thank you for your advice. Yes this instrument is like a melodica. It appears to be used a good deal in Italian pieces and is featured by Ray Coniff on several of his albums. I hope to hear from some of your readers.

Larry Vaught

From: theresa_lafleche@sfu.ca
Subject: Bee?
Date: Wed, 24 Oct 2001

Hello,

When travelling in Thailand, a friend of mine bought an instrument called a bee, bee-joom, or bee-saw. I believe it is a free reed instrument. Anyway, he broke the reed, and has been trying to replace it for years. Your help in positively identifying this instrument, or suggesting where I could find a replacement reed would be much much much appreciated. Can you help?

Best regards,
Theresa Laflèche

Dear Theresa,

Two persons come to mind who might be able to help you. Try Terry E. Miller at TMiller666@aol.com or Randy Raine-Reusch at asza@asza.com.

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: norbi@vogel.com.ar
Subject: tango - Piazzolla arrangements
Date: Mon, 22 Oct 2001 17:15:19 -0300

Hi!

My name is Norberto Vogel, pianist and bandoneonist live in Argentina. I offer Argentinian tango and Piazzolla arrangements for differents groups in differents skills and levels. Traditional Tangos, and Piazzolla´s themes. Also bandoneon solos Ask for demos.

Contact: Norberto Vogel
norbi@vogel.com.ar
http://www.2000-tango.com.ar/vogel/index.html

From: tisbury@xtra.co.nz
Subject: HARMONIUMS
Date: Sun, 14 Oct 2001 16:54:02 +1300

I have been browsing the Web looking for information on harmoniums. Your name appeared so I thought I would send you my enquiry. I own a beautiful harmonium that has been in my family for many years. I am curious to know anything available about its origins. It was made by Ph.J. Trayser +Co in Stuttgart. On the other side of the music stand is a circular plaque with various cities and dates eg. Munchen 1854 Paris 1867 etc Does this information provide any clues? I would be very grateful for any information you could give me

CHRISTOPHER EVANS

(ARE THERE ANY OTHER WEB SITES I COULD EXPLORE?)

Dear Christopher,

I would imagine the names of cities and years indicates the cities and year patents were approved. Or, perhaps it refers to prizes received. On The Classical Free-Reed, Inc. Links page there is an entire section on harmoniums and reed organs, some URL addresses of which, I am sorry to admit, are not up to date.

Please share with us any interesting correspondence you might have for our Readers Letters page.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: lb@produktudvikling.com
Subject: Free-reed and "very-free reed"
Date: Tue, 10 Oct 2000 13:28:13 +0200

Dear Sir

Having studied "The Classical Free-Reed, Inc." homepage a great deal being a newcomer to the free-reed world, I like to say thanks for a very informative site.

Having played the harmonica for several years, I have now started out with an accordion. This challenge has put a question forward which may be of general interest for your readers: How come a accordion do not have the ability to "bend" tones as the harmonica? As it seems, varying pressure makes the harmonica-frequency change, obviously this is not the case in buttonboxes. From a technical point of view, what is the difference? Taking the two instruments apart, the reeds look basically similar? Who will disclose the secret?

Yours faithfully

Lars Brejnbjerg (DK)

Dear Lars,

Thank you for a very interesting question, which I cannot answer.

Certainly the free reeds of the accordion are characterized by the ability of the pitch to remain fixed even under different amounts of wind pressure. This quality, in fact, is what made the harmoniums and reed organs so popular in the 19th century. The dynamic levels of the instrument could vary from piano to forte without affecting the pitch, as opposed to the pipe organ, which cannot be made expressive, because when the pressure of the wind to a pipe is varied, the pitch also varies.

But the harmonica must be a special case, as the pitch certainly can easily be bent.

I know it is possible to bend single notes on the accordion in the lower part of the range by depressing the button partially and adding pressure from the bellows. The pitch slides downward maybe a half or even a whole tone, but I do not know what principle of physics determines this.

There is one inventor who has patented an accordion which bends the pitches. I understand this is for any note on the instrument; not just the single-reed low bass notes. For more information, see www.aosi.com/~ttonon.

Please write back when you have more information, as our readers would enjoy hearing your discoveries.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: pat@patmissin.com
Subject: Re: Free-reed and "very-free reed"
Date: Sun, 14 Oct 2001 13:10:09 -0400

I read on the Readers' Letters page the question from Lars Brejnbjerg the question regarding note-bending on the harmonica and why that seems to be impossible on the accordion.

The simple answer to this question is that it is due to the reeds of the accordion being connected to a relatively simple bellows system, whereas the reeds of the harmonica are connected to the wonderfully flexible human vocal tract!

Lars states that pitch bending on the harmonica is due to varying pressure. This is not really the case. As you say, the free reeds of the accordion are relatively stable in pitch over a wide range of air pressures. The same is also true of the harmonica - blow harder and the note sounds louder; blow more softly and the note is quieter. Actually, all free reed tend to flatten very slightly in pitch due to increased pressure. This has been documented by James Cottingham, amongst others - you can read some of his work on the web at: http://www.public.coe.edu/~jcotting/acoustics.html However, this pitch difference is very slight, especially when compared to the example you give of the pipe organ.

Pitch bending on the harmonica is caused by changes in the resonance of the player's vocal tract. This is similar to how brass and woodwind player also bend notes and this is what you are mimicking when you partly depress an accordion's button and increase the bellows pressure. I believe Tom Tonon's invention does something similar by coupling a variable shape chamber to the reeds of the accordion.

However, in the case of the diatonic harmonica, there is also a secondary bending mode, exploited by blues-style harmonica players. In the simple diatonic harmonica there are two reeds in each chamber - one responds to positive pressure (blowing), the other responds to negative pressure (drawing). In the case of the typical blues-style bends, the two reeds are made to interact and the higher pitched reed in the chamber can be flattened to just above the frequency of the lower pitched reed in the same chamber.

For example, in a typical harmonica in the key of C, the first hole has a C blow reed and a D draw reed. The D can be lowered in pitch to a little below Db. Similarly, the tenth hole of a C harmonica would have a C blow reed and an A draw reed. In this case, the C can be lowered in pitch to a little below Bb. Again, this is done by manipulation of the player's vocal tract. The physics involved are quite complex and have been only been studied by a few physicists. One of them is Robert Johnston of Australia and you can read his paper on this subject at: http://www.dis.unimelb.edu.au/staff/Robertj/johno1.html

An American researcher called James Antaki (known to his friends as Turbodog) has also done may studies on reed physics. You can read some of his work at: http://www.turboharp.com/Company/CompanyIndex.html If there are any further queries, I would be happy to try to answer them.

All the best,

Pat Missin

From: r1c_sm1th@hotmail.com
Subject: Re:"The cathedral in Oliwa" by B. K. Przybylski
Date: Sun, 30 Sep 2001 21:09:28 +0100

Dear Sir,

I am trying to find a recording of the accordion work "The cathedral in Oliwa" by B. K. Przybylski and was wondering if you had any ideas where i could obtain this recording. I am playing this piece in a recital early december. Any help would be greatly appreciated,

Yours Sincerely,

Richard Smith

Dear Richard,

I suggest you contact Professor Wlodzimierz Lech Puchnowski, chairman of the accordion department at The Fryderyk Chopin Academy of Music in Warsaw.

See http://www.chopin.edu.pl/polskie/osobowe/puchnowski.html

I am nearly certain that he knows the composer Bronislaw Kazimierz Przybylski personally, and that he can give you an address to contact Przybylski. Prof. Puchnowski will probably also know if there is a recording of the piece you mentioned.

I believe you can contact Prof. Puchnowski through the webmaster at http://www.chopin.edu.pl/

Also, please tell me when and where you are playing this piece. What other pieces will you perform also? I assume you must be a professional concert accordionist, or at least a conservatory student.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: r1c_sm1th@hotmail.com
Subject: Re: Re:"The cathedral in Oliwa" by B. K. Przybylski
Date: Mon, 1 Oct 2001 19:06:58 +0100

Dear Sir,

Thank you very much for your help, I have e-mailed Prof. Wlodzimierz Lech Puchnowski. I am playing this piece for my audition recital at the Royal Academy of Music in London in the first week in December. I hope to get in, then I will be studying under Prof. Owen Murray. It is him that has reccomended this piece to me.

I want to be a professional concert accordionist but at present am not a very good performer. The other pieces I will be playing for my 20 minute recital are also standard bass accordion pieces, Czardas by Fugazza and Classical Sonatina by G. Romani. I have been playing just 3 years and have progressed to Grade 8 standard. At present I do not play free-bass accordion but after this important recital in December i will be swiftly moving onto a button acccordion with free-bass.

Do you have any tips on good concert technique, conquering nervousness, especially in a recital the you know that how you play may affect the rest of your life and where you study?

Best Wishes,

Richard Smith

Dear Richard,

I used to get really nervous when I had to play a difficult piece. I remember when I was maybe 21 years old and auditioned as a piano major at the Eastman Graduate School of Music at Rochester, New York. I played absolutely horribly. Of course, I was not accepted.

Today, I hardly ever get nervous. As far as I can see, the biggest factor that helped me get over my stage fright was playing in public frequently. The more you play concerts, even informal recitals at parties or people's homes, the more confident you become and the better you will play at important events.

Another point: if you are attached to the result, you will have a harder time dealing with nervousness. If you are unattached to the result, then you won't care if you make a mistake and you'll be able to shrug it off and continue on without fear. This is a yogic practice; acting without attachment. It's called Karma Yoga. It takes practice to achieve non-attachment, however, to cultivate the detached mind. Not something you can just toss off.

In any case, whether you get accepted at the Royal Conservatory or not, doesn't make a difference. If you do your best, you will be accepted at the best place for you at the moment. If I had been accepted at Eastman, I would have quickly become discouraged because everyone there played light-years ahead of me. I would have been a tiny fish in a big ocean.

As it was, I got a scholarship at a small liberal arts college with a great piano professor. I was a big fish in a small pond. Therefore I was the one who got to play piano, harpsichord & celeste parts with the college orchestra, not the other piano majors. I got to accompany instrumentalists and singers for lessons, recitals and juries, and even made money doing it. I got to play chamber music recitals and direct the pit orchestra for theater productions. I got to do LOTS more than I would have at a big prestigious school. My training at the small school was probably better than it would have been at Eastman.

At Eastman, I would have studied under a graduate student and probably wouldn't even get to see the famous piano professors.

Anyway, I think you get the idea.

Best wishes,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

P.S. If you want to study at a great University, you'd better pay more attention to your writing. You incorrectly spelled several words in your letter, including the word "accordion."

From: mcharry@club.lemonde.fr
Subject: Free reed mystery
Date: Fri, 21 Sep 2001 23:02:39 +0200 (CEST)

I found your address on your web page, and would appreciate any ideas you may have about my reed organ mystery.

I recently purchased a very small pressure operated reed organ from a person in Hyannis, MA. It is only three octaves and is pumped with a single small pedal. The exterior of the case appears to be veneered in Brazillian rosewood similar to that found on melodeons. The interior of the lid is veneered in what appears to be tiger maple. The reeds are screwed on directly under the keys. The keys depress 1" brass pins to open the pallet valve beneath.

Photos appear on the Reed Organ Society's site: http://sponsor.globalknowledge.nl/ros/temp_images/smallorgan.htm

Do you think this is in fact an early American seraphine, an English seraphine, or an early French harmonium?

Hugh McHarry

Dear Hugh,

Your guess is as good or better than mine! It seems to be certainly from the first half of the 19th century. It resembles, in certain respects, a photo of a Physharmonica made by Anton Haeckel of Vienna in 1821 which appears in Robert F. Gellerman's "The American Reed Organ" page 8. I have never seen a picture of a seraphine. Perhaps some of our readers may have a clue.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: mervw2@juno.com
Subject: Old Hohner Accordion
Date: Wed, 19 Sep 2001 15:07:53 -0700

I have been trying to research a old hohner accordion & came across your web page. If you can bear with me for a while i'll describe it for you as i don't have the capability to send a picture of it yet. I believe it's a real old pokerwork. Above the HOHNER name is MARCA REGISTRADA, There are anchors on each side of hohner name w/ rope intertwined through it. MADE IN GERMANY underneath the name. It has 21 keys, 11 on the bottom,& 10 above those. There on the bottom of the accordion on it's own little keyboard. There are 8 bass buttons on the right hand top of it. A little metal plate saying "Steel Reeds" . I believe it might be fairly old . There are 2 of the little plastic or that looks like discolored ivory missing of the 21 finger pads of keyboard. there is 1 of those little pads missing of the bass keys. Most of the old leather straps are gone, Other than that it plays well, the bellows look worn in a couple places but not ripped or anything. If you could give me any information about it , how old it might be , if it's worth much as a antique or a serious insturnment, I thank you for your time & appreciate any help you could give me. If you respond please use my yahoo address. crawly_frog@yahoo.com

Thank You

Mervyn D Williams.

From: adam.hepa@kopex.com.pl
Subject: Music of Pietro Frosini in Poland
Date: Tue, 11 Sep 2001 11:37:28 +0200

Dear Sir,

Please forgive me being bold enough to request you for a favour. Having seen your web site, it occurred to me that maybe you could help me in the following matter.

My name is Adam Hepa, I am a holder of M. Sc. in computer science. But my hobby is...accordion playing. I am 32 years old and I live in Siemianowice Sl.(near Katowice). I am married and have a five year old son. I have plucked my courage to write to you, because I am very fond of accordion music, unfortunately note publications for accordion are not availaible on the Polish market. I got acquainted with the works of P.Frosini and other eminent composers writing for accordion , browsing through the Western web.

My request is ? how could I get access to the works /note publication/ of the maestroes of the turn of the XIX and XX century? (with due respect to every one of them). There is no mention about P.Frosini on the Polish web sites, and I would like to make accordion music more popular in Poland, including your own works. This is a difficult task, as accordion recordings are simply not availaible.

Dear Sir, if you have some relatives in Poland, who could help me in learning more about you, accordion and the maestroes of this instrument, I would be extremely grateful for contacting me with them.

Looking forward to hearing from you.

Yours sincerely,
Adam Hepa

Dear Adam,

I suggest you contact two organizations: 1. Frosini/Deiro - Föreningen and 2. Frosinisällskapet.

1. The "Frosini-Deiro Association" has regular gatherings every Thursday evening at Borgarhemmet, Högalidsgatan 28, Stockholm, for playing and discussing works by Pietro Frosini, Pietro Deiro and other composers. During the last 14 years nearly all of Frosini´s and Deiro´s works have been played and discussed. At the end of each meeting, the association has a concert which includes video recordings of appearances which the members may purchase.

The association has nearly completed archives of Frosini´s and Deiro´s compositions and arrangements of which members can also buy copies. The association publishes a magazine four times a year which includes a composition or arrangement by Frosini, Deiro or some other interesting composer.

1. Frosini/Deiro - Föreningen
Contact:

Namn: Knut Halling
Adress: Vårgårdavägen 13 / 125 51 Älvsjö
Tel: 08-99 55 52
Email: sm5byt@stockholm.mail.telia.com

2. Frosinisällskapet - Frosini Society
Contact:

Namn: Lars Ek
Adress: Högvallavägen 9 / 131 46 Nacka
Tel: 08-718 06 30

Although I have relatives in Poland, I have never met them and I believe none are accordionists.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: caminitoxx@hotmail.com
Subject: BANDONEON AA
Date: Tue, 14 Aug 2001 18:38:39 +0000

KINDLY:

I AM AN ANTIQUE DEALER, OF ARGENTINA AND COLLECTOR OF BANDONEONS, TODAY I HAVE SEVERAL BANDONEONS IT´S BRAND IS AA. IF YOU ARE INTERESTED IN BUYING ONE, PLEASE LET ME KNOW, SEND ME AN EMAIL AND I WILL BE GLAD TO PROVIDE YOU PICTURES , SPECS AND ALL THE INFO REGARDING THEM.

WARM REGARDS

SEBASTIAN SOLER

From: carolsmusic@webtv.net
Subject: Melodicas with more than 37-keys
Date: Thu, 9 Aug 2001 17:35:02 -0400 (EDT)

Hi Henry

regards from Toby and Carol Tobias . Remember us? It's been a long time.

Toby is looking for the 'HolyGrail' of melodcas Also a 'midied' melodica that could be used as a controller to work off of modules. Who can manufacture such a melodica for us? Do we have to go to Italy to make this happen? With or without reeds a 49-key melodica midied controller would really be an asset for keyboardist to have what sax players have when they double on a wind cotroller that gives them flute sax trumpet sounds etc. Did you ever get your "B' or "C' griff chromatic accordion?. Let us know how every thing is going.

Toby and Carol
Kingston, New York

Hi Toby & Carol

Yes, I remember you! We met back in 1990 or so at the American Accordion Musicological Society Festival at King of Prussia, Pennsylvania. You also wrote a successful childrens book which featured the accordion.

Midied melodica? Hmmmmn. I've got no idea. Any readers out there care to reply?

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: pat@patmissin.com
Subject: Melodicas with more than 37-keys
Date: Thu, 13 Sep 2001 11:04:20 -0400

Hi Henry

A somewhat late response to the question about melodicas.

I've never heard of any melodica-type instrument with more than 36 keys. There is the accordina which has 44 keys, but they are in the style of the chromatic button accordion, rather than a piano-style keyboard: http://perso.club-internet.fr/manoury/index.html/accordina.html

As for a midi melodica, I've never heard of one of those either, although it's a nice idea. Hohner did make an electronic version of the melodica back in the 1960s. I forget the name of it, but it wasn't a big seller.

I guess you could argue that there is no great advantage to be gained from a midi-melodica, as you could get similar expressiveness by using a regular midi keyboard with a plug-in breath controller, such as the Yamaha BC series, although that's not quite as cool as picking up a small keyboard and blowing directly into one end of it.

-- Pat Missin.

From: wwakker@tref.nl
Subject: belated congratulations etc.
Date: Sat, 18 Aug 2001 01:05:13 +0200

Dear Henri,

First of all congratulations with your marriage. I am sorry I am a bit late. We had a hectic summer. I hope married live agrees with you. Karen and I will be married 15 (!) years next month. I think that by now I am prove that marriage and musicianship can be successfully combined. Just to keep you informed about the classical concertina activities:

I am recording the 'concerto in A for concertina and string orchestra' by the american composer James Cohn October 1 in Riga with the Latvian National Orchestra. The down side is that I only got 6 weeks to learn the whole piece.....

I have a new american student - Juliette Daum - at the concertina program at the Fontys University.

There are a few very good and active accordionists that I think you should include in your "Performer's List": Ronald van Overbruggen (teaches accordion at the Fontys) and Otine van Erp, probably the most active concert player in Holland. She frequently tours the US and other countries. In fact, there are several (10+) professional accordionists active over here.

Regards,

Wim Wakker
Helmond, Netherlands

From: fastron@hwcn.org
Subject: Macerollo
Date: Mon, 6 Aug 2001 15:05:35 -0700

The other night I caught the tail end of an animation video of two guys trying to kill each other's gardening efforts. It had Macerollo playing the accompanying music and showed him doing it as well. It was on Bravo, Friday or Saturday. The music was wonderful and original, at least to me. Do you have any data on this - director, composer, availability?

Ron Fast

Ron,

All I can give you is Joseph Macerollo's phone number and address which can be found on our Performer's Directory Page. Perhaps he can help you.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: lee229@ozemail.com.au
Subject: Re Free Reed
Date: Mon, 6 Aug 2001 14:53:48 +0930

Dear Henry,

my name is Norm Lee, I live in a small settlement in the McLaren wine-growing area of South Australia. I'm currently restoring two organs - a Wertheim New York (looks like a harmonium rather than a Reed organ). I've no data on Wertheim, have you any ideas?

Second organ is a Cornish reed organ, found a few days ago in an old shed on the back forty acres of a winery! NOT in good nick and needs lots of TLC! But we'll get there eventually. I feel ilke I'm the only person in Australia restoring these delightful instruments, so I really need to keep in touch with people on the other side of the world who REALLY know what they are doing!! Can you send me details of Free Reed Society?

With kind regards

Norman Lee

Dear Norman,

Perhaps you can contact the Australian musicologist and harmonium enthusiast, Diarmuid Pigott -- curator of the Harmonium Home Page. I don't have his email address, but it can be found at his website. I'm sure he can help you.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: invisual@gte.net
Subject: Newsletters
Date: Fri, 3 Aug 2001 02:18:42 -0700

Henry,

I meant to mention: if you have time you might look at some of the archived Newsletters on BAAC's site (http://www.baaccordionclub.org/). You'll see that I made use of a lot of The Classical Free-Reed, Inc. material, for which you'll remember I asked permission. After I printed Peter Soave's interview (in a single issue in March) the Chicago Club picked it up and is printing it over three issues in its Newsletter. I feel good about getting Tom's interview additional attention (I think he's one of the best interviewers the accordion world has) & I hope I'm doing something for the site as well. All the accordion lacks is recognition for its obvious beauty and a fitting & proper appreciation for the talent of its artists; that's a matter of information (and you're to be applauded for your hard work and foresight in creating TCFR, Inc. and now the Guido Deiro site -- http://GuidoDeiro.Com).

I did several articles in past issues (Of Lungs & Machines; Meno Barba, Piu Voce; Stealing; & Jazz) that might interest you, if you care to check them out. I started doing the layouts in February of necessity & I've tried to give it a look. I can certainly appreciate the effort that's gone into your webmastering.

Paul Magistretti
San Francisco, California

From: phil@harmoniumservice.demon.co.uk
Subject: International Reed Organ Convention - 2001
Date: Mon, 16 Jul 2001 22:27:13 +0100

Hallo!

I invite The Classical Free-Reed, Inc. readers to attend our first International Reed Organ Convention. You will see that there are some exciting Recitals - given by top recording artistes!!

Saturday 6th October 2001

10.00am Coffee & Registration
11.00 - 11.45 Welcome & Introduction
12.30 LUNCH
2.00 - 3.00 Opening Recital - Johannes Michel & Ernst Breidenbach Duos on Harmonium & Piano
3.00 Tea & Biscuits
3.30 - 4.10 Sharing in Groups - The Reed Organ of my Life!
4.10 - 4.20 Groups change around
4.20 - 5.00 Sharing in Groups - Reed Organ Conservation
5.15 - 6.15 Recital - Dirk Luijmes The Harmonium & Contemporary Composers
6.15 - 6.45 Maarten Stolk - inauguration of our 'new/old' Alexandre
7.00 - 8.00 DINNER
8.30 .. zzzzzz After Dinner Entertainment

Sunday 7th October 2001

10.00 Meet for coffee, look at exhibits, etc
10.45 - 11.45 Recital on Solo Harmonium - Joris Verdin
12.00 - 1.00 LUNCH
1.30 - 2.30 Mark Richli - "The Titz Art Harmonium vv The Mustel Art Harmonium"
2.45 - 3.30 Exhibition - your instruments, explained & demo'd
3.45 - 4.45 Finale - The London Salon Ensemble
4.45 Tea & Farewells

Please don't forget to bring one Free Reed instrument - that will fit into the boot of your car, or in your pocket or even up your sleeve! This is for your exhibition.

There will be a display of Music that you have found works specially well on the Reed Organ. You can play it in the breaks - if you choose to do so. Otherwise it is there as inspiration for others.

We hope that this exciting programme will entice you to join us in Victoria Hall Saltaire in October - to enjoy all aspects of the reed organ and also to meet folk who are like-minded. See you in October!

For more info, contact:

Pam & Phil Fluke, custodians
The Harmonium Museum
6 Albert terrace
Saltaire
Shipley
West Yorkshire BD18 4PS
England
Tel - 01274 585601 (needs code for UK on front!)
Mobile - 07976 535980 England

From: kwwng@attcanada.ne
Subject: New Listing - Sheng performer(s) - Vancouver
Date: Wed, 11 Jul 2001 17:37:30 -0700

Hello,

We are performers of the Chinese Sheng, and we would like to be added to your listing of musicians.

My husband, Wu Zhongxi, is a professionally trained performer of the Chinese Sheng. He received his formal training from the Heilongjiang Art College in northeastern China, and we recently moved to Vancouver, B.C., Canada, in 2000. Zhongxi also is a soloist on the double-reeded Chinese suona, and I often accompany him on the sheng.

We have an upcoming CD from GlobalVillage records in New York. In Vancouver, we have made the acquaintance of such groups as Silk Road and Asza, of whom Randy Raine-Reusch and He Qiu Xia (pipa player) is a part of. As well, we also work with the B.C. Chinese Orchestra, whose president Mr. Bill Lai (604) 327-8807 (email bccma@lynx.bc.ca) can tell you a little about our work.

We enjoy your website, and we're also interested in finding out more about your organization. Please feel free to contact us at:

Karen Wong & Zhongxi Wu
1-(604)-921-8168
zhongxi_wu@hotmail.com

Our mailing address can be provided upon request. Thank you,

Karen Wong
kwwng@attcanada.ca

From: dagmar hansbauer
Subject: Hello
Date: Wed, 27 Jun 2001

Hi,

I just listened to the audio samples on your wav Files Page and must say that I haven't heard anybody play accordion so well since I moved out of my fathers house 15 years ago!

I just started to play again a few months ago....just couldn't live with out seeing peoples chins drop to the floor as I break out into Hungarian rhapsody, I guess. However, since I now work without a teacher, I'm running into a couple of difficulties and am trying to find a CD, or midi file or SOMETHING to help me with a few difficulties in that particular piece.

Sorry to barge in on you like that,...but do you know of any published (audio) accordion version of those particular thirteen pages of hell?

Thank you very much for your time.

Sparrow

Dear Sparrow,

Do you mean the Hungarian Rhapsody No. 2 by Franz Liszt? Unfortunately, I know of no recordings.

Sincerely,

Henry

Hello again, Sparrow.

I just received in the mail a CD which includes the Hungarian Rhapsody No. 2 by Franz Liszt. It is the Hohner Accordion Orchestra. Go to Hohner Accordion Orchestra.

Sincerely,

Henry

From: msalter@alltel.net
Subject: I have an antique
Date: Sun, 24 Jun 2001 17:36:09 -0700

Hello,

I was wondering if you could help me. I have an accordeon. It is a very old one. All the information on it is:

"Eagle Brand Highest"
made in Germany
Accordeon Quality
Bell metal reeds
It is in excellent condition. I have been trying to look for information on it but I'm not real sure where to look, I came across your site and thought you might be able to help. I would just like some information on it. There is no serial number on it that I can find. Thanks for your time. Any help would be greatly appreciated. Thank You.

Missy

Any info for Missy, readers?

From: dgm4+@pitt.edu
Subject: Free Reed Site
Date: Sun, 24 Jun 2001 19:04:39 -0400 (EDT)

Greetings,

I just wanted to pass on my sincere appreciation for your The Classical Free-Reed, Inc. site. As a composer interested in free-reed instruments (especially accordion and harmonium), I was delighted to see that someone had put up a website devoted to the use of these instruments in classical art music, and was especially pleased to note that the webmaster lives in the Pittsburgh area!

As I mentioned above, I am a composer, currently enrolled in the master's degree program in composition at the University of Pittsburgh, where I study composition with Anne LeBaron. My interest in free-reed instruments dates from my studies in Vienna in 1998 and 1999-2000. During my first trip to Austria, made while I was a student at Oberlin Conservatory, I studied with Richard Hoffmann, one of Arnold Schoenberg's last living pupils. Our classes were held in a house where Schoenberg had lived between the world wars, and several of his instruments, including his harmonium, were there for our use. I fell in love with the harmonium, and used to spend hours improvising on it.

Meanwhile, I got to know the Austrian composer Georg Friedrich Haas, who has written extensively for the accordeon. His works include music for solo accordeon, accordeon and percussion, and chamber music for several accordeons; he has also used it in orchestral music and in his opera "Nacht".

I have long been interested in writing for the accordeon and/or harmonium, but have long been frustrated by my lack of access to performers on these instruments. Would you be willing to provide consultation of the idiosyncracies of writing for free-reed instruments?

Thank you very much,

David Gerard Matthews
Pittsburgh, Pennsylvania

Dear David,

Letters from people like you come few and far between, but when they do come, it makes all the thousands of hours of work putting together The Classical Free-Reed, Inc. website worthwhile.

Certainly I can consult with you and I look forward to hearing from and perhaps meeting you.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: lili.claes@pandora.be
Subject: SHENG
Date: Thu, 21 Jun 2001 09:43:54 +0200

Hello

Free-reeders, my main instrument is also a free-reeder; harmonica. I have 2 different Chinese shengs, which I regard as the great-great grandfather of harmonicas, and an tutorial booklet in Chinese. Since I am from Belgium, Europe my Chinese is not so good. For more than a year I tried to locate or a sheng teacher, or a Chinese music teacher who knows the basics of sheng, or a tutorial book in English, Dutch , French, German or Spanish... if you have any suggestions I would very much like to hear from you.

Kind regards,

Ludo Beckers.

Any suggestions, readers?

From: danielmoyse@yahoo.com
Subject: Hello!
Date: Wed, 20 Jun 2001 09:50:48 -0700 (PDT)

I'm 21 years and a student in one of the few music universities in Romania. I play accordion from the age of 10 and now, after years of study and hard work, this instrument become a big part of my life and soul. From the childhood I loved so much the music and fortunately I had some good teachers who showed the right way in the art of playing .The days when I have recitals are the happiest of my life.

Unfortunately here in Romania I don't have good conditions to study: old and bad instruments, a few scores and many other problems. It's very difficult for the musicians here to do performances.

I had thinking a long time before I decided to write you and I hope that my letter will not disturb you so much.

Every time I study a new piece I try to find and listen a good recording with a great accordionist and I'm very disappointed that here these recordings don't exist. Usually I borrow from my teachers or my friends but they have very few. I make part from a very poor family. My parents earn about $80 in a month and it's very, very difficult for me to buy CD's. For the most of the people here life is very hard.

I want to ask you something. If you could please send me some CD's with any kind of accordion music, I'll be very grateful and will mean very much for me. Please help me with this problem. I wait your answer.

Please excuse my English.

Sincerely,
Daniel Nehoianu
Romania

Greetings, Daniel, and best wishes to you.

Thank you for your letter. In some ways, I have had the same experience as you.

Although I did not consider myself at the poverty level, I lived very simply on what little money I could make as a classical musician studying full-time at Duquesne University. Due to my limited income, I also could not purchase many CDs. So I had an idea: why not get people to send me CDs for free. So I began writing CD reviews on the internet, beginning with the usenet newsgroup for accordionists and eventually building a huge 425-plus page website on a free server: The Classical Free-Reed, Inc. Accordionists and labels began sending me CDs, I think I have acquired almost 300 CDs for The Classical Free-Reed, Inc. library which I -- and other volunteer staff members of The Classical Free-Reed, Inc. -- have written reviews of.

Today I am not in school anymore, but I still do not have much more money! I cannot send you any free CDs, but I will publish your letter on The Classical Free-Reed, Inc. Readers Letters' page (we get perhaps 20,000 visitors per year) and perhaps you will find the patron you seek.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

From: pmhca@ihug.co.nz
Subject: Accordion Sheet Music
Date: Fri, 8 Jun 2001 01:20:32 +1200

Dear Sir,

I just read your web page about Zhang Guo-Ping. I shall be visiting Los Angeles and San Francisco between 15 Jun - 22 Jun and as my 3 sons play the accordion I want to visit some music shops up there and buy some arrangements for solo, duo and trio. My 2nd son Calum is at Grade 6.

At the South Pacific Championships last weekend I heard a Chinese lass play a Chinese folk song and I would also like to get some ethnic arrangements for the accordion (Chinese, Scottish, Spanish, Italian, etc). Can you recommend some shops with their addresses that I could visit in L.A and San Francisco? I won't have much free time in either place, so if I have some addresses I can make a bee line for those shops as soon as I get some free time.

Hoping you can help me. Thank you

Regards

Paul

Dear Paul,

I do not know of any shops in California. However I do know some people who might know. In San Francisco, write to Bob Berta, former president of the Bay Area Accordion Club, at rkb4@pge.com. If you cannot contact him, try Paul Magistretti at invisual@gte.net.While in Los Angeles you might try Louis Fanucchi at mainskweaz@aol.com.

Best wishes, and I hope you enjoy your visit to the States.

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Thu, 17 May 2001 20:37:27 +0200
From: Assoc Prom Accordeon -- christiane.bonnay@wanadoo.fr
Subject: Demande de royalties

Joli site mais je ne me trouve pas assez en vue !!!!!!!!!

Au fait, je n'ai pas trouvé le prix du disque, mais est-ce qu'il en reste encore un gratuit, pour moi, si ce n'est pas le cas mon ami avocat va se faire un plaisir de te poursuivre afin d'obtenir dommages et intérêts.

A plus à l'Académie de musique de Monaco Salle 9........

Ton amie préférée.

From the Association Prom Accordion Christiane Bonnay

You have a lovely sight, but I didn't view quite enough about myself. To the point: I didn't find a price for the CD. Does that mean it remains again a gratuity for me? If that is the case my friendly lawyer is going to take pleasure in pursuing you to obtain damages and interest.

For more contact the Academy of Music, Monaco, room 9.

(signed) Your preferred friend.

REPLY:

Dear Madam, I am not sure I understand your letter. The Classical Free-Reed, Inc. has merely published a review of your compact disc with Philippe Loli. You can see that we say that the person to contact is Philippe Loli and his address and phone number are given.

If a reader wants to buy your disc they must contact Philippe Loli and make the purchase from him. We have not sold any of your disks. We are merely publishing a review of your work and giving you free publicity.

Therefore, how can we respond to a demand for royalties when we haven't sold, played or in any way profited from your disc? If you would like us to delete your review from our website, please tell us and we will do so.

Sincerely,

Henry Doktorski, founder,
The Classical Free-Reed, Inc.

Date: Sat, 19 May 2001 02:16:07 -0700
From: invisual@gte.net
Subject: Bonnay

Henry

I think cher madame got The Classical Free-Reed, Inc. confused with Napster and didn't understand what TCFR, Inc. is about. She saw her CD listed and "no price," so she thinks (voila!) people are downloading it for free, "show me the money." After all, the media has shown Napster's site with listings of CDs.

Paul Magistretti
Novato, California

Date: Thu, 17 May 2001 17:04:54 +0200
From: michaelwist@web.de
Subject: Mr. Larry Adler

Hello to You

I`m writing as an artist and musician from Berlin to you and also I´m the director of the int.meetingpoint of the artists, here in Berlin (sorry my english isn`t so favorite)

The story

Yesterday I was invited to a birthday party at BERLINS VOLKSTHEATER HANSA (maybe you`ve heard about it) It was the 80th year birthday of the great movie acteur... Ms.Winnie Marcus... and

on stage Mr. Rolf Eden played for the guests on a bluesharp with a friend of mine ...

and after that he (Mr. Eden) told me that he wishes to play on his own birthday party together with the legendary harp player LARRY ADLER... and now it is up to me to find Mr. LARRY ADLER...wherever he is....

at this time I don't know something about him maybe he`s dead or alive...

and so I´d like ask to you, if you got some informations about him?????

It will be so wonderfull if you can write some email TO michaelwist@web.de

if you got some information about a musician, somebody loved

SPECIAL THANKS from all of US ....

Michael Wist
Berlin

Hello Michael,

Although Mr. Adler was born in 1915, I believe he is alive. His address can be found on our Performers Directory page.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Mon, 14 May 2001 07:22:16 -0500
From: l_hovee@gibraltardesign.com
Subject: Chinese Sheng

Dear Free-Reed Correspondent,

I enjoyed looking at your website last night for the first time. I also was pleased to see such an extensive article on the "Sheng". I plan to go back and read through it again.

For the past several years I have been learning how to play the harmonica. It is a wonderful instrument, and I enthusiastically share it with others. I have long had an interest in the Chinese culture, so when I learned about the connection between the harmonica and the Sheng, I was very motivated to learn more.

Can you tell me where it might be possible to obtain a Sheng at a modest price. Also, I would be interested in knowing if there are any kits or plans on how to make a Sheng. Thank you for any direction that you can provide.

Sincerely,

Larry Hovee, RA
Architect

Dear Larry,

Thanks for your kind words about my article on the sheng.

I assume you live in the US? Lark in the Morning in Fort Bragg, California sells shengs and other Chinese instruments. See http://www.larkinam.com/MenComNet/Business/Retail/Larknet/china.

Readers, do you know of other companies which sell shengs?

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Mon, 14 May 2001 09:14:55 -0500
From: l_hovee@gibraltardesign.com
Subject: Chinese Sheng

Dear Henry,

Thank you for your quick response. Yes, I live in Indianapolis, Indiana. Well, you have confirmed my impression. I had found Lark on the web, and had viewed their Lu Sheng and Sheng. The first (at $49) is within my reach, but the second (at $250, or even $170 for the student version) is a bit beyond me at this time. I just wanted to be sure that there were not other sources. I have ordered their catalog, and may eventually order the Lu Sheng version.

Are you aware of any kits or information on how to make a Sheng?

Thank you for your kind assistance. You can be sure, with my interest in the harmonica and the sheng, that I will visit your website further.

Sincerely,

Larry Hovee

Hello again Larry,

Sorry, I know of no kits, but you could try contacting sheng players. We have a list of some on our Performers page.

Best,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Fri, 11 May 2001
From: akordeon@atlas.cz
Subject: accordion

Hello colleague,

You have got interesting web. Many greetings to you from Czech Republic Europe.

Jiri Koucky

Date: Mon, 30 Apr 2001 17:16:10 +0200
From: idi.boudewijn@worldmail.n
Subject: competitions / concoursen

Dear Sir,

I am programming a classical music festival ( www.grachtenfestival.nl) in Amsterdam, which gives a.o. young Dutch/Belgian prize winners of competitions in previous years a chance to give a concert in our festival. However, We never came a across a classical accordeon/bandeneon competition/festival. Do they exist ?

Could you please inform me whare I could get into touch with them?

With kind regards,

Idi Boudewijn
Grachtenfestival
idi@worldmail.nl
tel. 6.54.780408
fax 31.20.6757830

Dear Idi,

There are many classical accordion festivals each year in Europe. One of the most prestigious annual competitions is sponsored by the Confederation Internationale des Accordeonistes (see www.accordions.com/cia). Other large competitions take place at Castelfidardo, Italy (see http://accordions.com/castelfidardo); Klingenthal, Germany (see http://www.accordions.com/klingenthal/fr_index.htm); plus dozens of others.

I believe NOVAM sponsors an annual competition in the Netherlands. Contact them at:

NOVAM
PO Box 578
6500 AN Nijmegen
Netherlands.
Fax: +31 24-3273925
E-mail: lin-sckc@telebyte.nl or: novsspel@multiweb.nl

You can find a list of some of the competitions at AccordionLinks.Com (see http://www.accordionlinks.com/events.cfm). Also see the AccordionsWorldWide Competition Page at http://www.accordions.com/misc/annual_comp.shtml.

And don't forget to invite some friends of mine, the Dutch Accordion Ensemble, Alphen Opus 2, who performed in Pittsburgh, Pennsylvania last year. See http://www.geocities.com/alphen_opus2

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Tue, 24 Apr 2001 16:20:46 +0100
From: afernandes@viseu.ipiaget.pt
Subject: contact

Hello!

Congratulations, good page!

I am from Portugal and I have a diatonic accordion quartet called "Dancas Ocultas" with 2 CD's ("Dancas Ocultas" '96 and "Ar" '98 - EMI Portugal). Can you give us an address to send these CD's?

Artur Fernandes

Hello Artur,

Thank you for your kind words. As explained at http://trfn.clpgh.org/free-reed/reviewscon.html, CDs may be sent to:

Mr. Thomas Fabinski, editor
The Free-Reed Review
27612 Lorraine
Warren, MI 48093
USA

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Sun, 22 Apr 2001 08:51:09 -0700
From: countdeiro@earthlink.net
Subject: Re: News Item

Dear Henry:

I am delighted that you have selected Deiro and Frosini works for your recital at Duquesne University May 6th. You may not know that there was quite a friendship between the two artists. Frosini being one of the first, if not the first, to play semi-tone accordion in big time vaudeville. He said later that his Vaudeville program changed from all operatic and classical presentations to a mix with the popular tunes of the day through the influence of my father's success in combining them for his audiences.

Several of my father's vaudeville reviewers mention his "delighting the gallery by playing Dixie" and their ill contained relief that "unlike other accordionist's who predictably torture us with the Poet and Peasant Overture, his virtuosity includes the new rags and songs."

I only wish I could hear you play. Are you doing "Egypto" and "My Florence"? Or do you have something else up your sleeve. Watching and hearing you in New York was like receiving and opening a wonderful gift box. Is it possible to record this recital for me as I have never heard Frosini. I would be happy to cover any costs.

Count Guido Roberto Deiro
Las Vegas, NV

Date: Wed, 18 Apr 2001 13:30:46 -0700
From: terilynn3@hotmail.com

Hi my name is Teri and my mother in law has a very old accordion, in perfect condition that she wants to get rid of. I will list all info I have on it, if you can point me in the correct direction on where to go or who to call I would greatly appreciate it. It is an Italo American, with the original case, all in perfect condition. She has the original repair booklet by Pietro Deiro #7817, made in Italy, it has a diamond on it, it has Albacor keys. Any info would be great.

Thanks

Teri McElroy

Teri,

I believe Accordions Worldwide has the greatest readership for this type of thing. I suggest writing to them.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Fri, 6 Apr 2001 12:55:28 -0500
From: wadowick@troycable.net
Subject: Recordings

Hi,

I am interested in obtaining some of the recordings of Joe Petric, but I am not being successful in this little burg I live in. Would the Schwann Catalogue list him? Can you suggest any other source I can access by phone right now? I am not near a record shop with the Schwann Catalogue.

Thanks

James L. Wadowick
Troy, Alabama

Hello Jim,

Why not write to Joe personally, or order from his website? His web address, phone, email address & snail mail address are listed on The Classical Free-Reed, Inc. Performers Directory page.

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Fri, 6 Apr 2001 10:58:07 +0100
From: phil@harmoniumservice.demon.co.uk
Subject: Shengmasters CD

Dear Henry,

The Shengmasters CD which we ordered from The Classical Free-Reed, Inc. Online Gift Store arrived this morning. I am listening to it whilst I write this to you! IT IS MARVELOUS!!!!!! Who would have thought the sheng could be so vigorous and 'lusty'!!! I am very impressed indeed, it is a truly super CD!!!

All best wishes & thanks again for ensuring we got this super CD - we are most grateful - and indeed the richer for hearing it!!

Pam Fluke
Reed Organ and Harmonium Museum
West Yorkshire
United Kingdom

Date: Mon, 2 Apr 2001 22:41:17 -0400
From: dbarski@ronconet.com
Subject: REVIEW OF "The Free-Reed Review"

Hello Henry!

Thank you for the prompt mailing of your book The Free-Reed Review. I received it today, and spent the last couple of hours reading it from cover to cover...

You are as interesting to read as you are to hear in person (I'm sure you don't remember me, but I had the pleasure of attending your George Gershwin workshop at Darrow's American Accordion Musicological Society 'Fest two years ago at King of Prussia, Pennsylvania.)

Your reviews are thoughtful, detailed, informative, and full of musical insight. My only disappointment is that there weren't more of them!

Question: Does one subscribe by having purchased the present collection, i.e. might I expect to receive future reviews of new CD's as they become available to you for review?

My primary reasons for acquiring your book were to be able to discover new recordings of which I was unaware, and to avoid the disappointment of purchasing recordings for which I had no taste. I thought I had a fairly large collection of accordion recordings, but was pleasantly surprised to find that I had only seven out of the fifty-three listed in your book. Of the remaining forty-six, I have decided to purchase six with a sense of confidence.

I'm pleased to say your reviews have credibility with me. Of the recordings which I already have, I agree very closely with your critiques, and was glad that you were willing to be critical in those relatively few instances when it was necessary. (Your two severest reviews were for CD's which I happen to have - Newton's and Venglevski's... You echo my thoughts precisely! (Particularly in Newton's case!)

Thanks for a job well done. You are making a significant contribution to helping the accordion become better understood as an instrument of distinction. I'm looking forward to hearing more of you... your music, as well as your thoughts!

Dan Barski
Arcade, New York

Dear Dan,

What a pleasant surprise to read such a thoughtful, in depth letter from you so quickly. When did I mail that book out, two days ago, I believe?

Someday I'll put the rest of the reviews in print; I believe we are up to 269. For now, you can read them all at The Classical Free-Reed, Inc. Free-Reed Review pages. Unfortunately, some of the reviews are 5 years old and some of the CDs are now out of print. But I believe most are available. (I am also unhappy to report that we've exceeded our server space limit and so most of the images do not load anymore; but I'm working on a solution.)

Here's some brand new news: my next CD will probably be a solo album of all Guido Deiro music. I just played two of his pieces in recital in New York (for more info see www.henrydoktorski.com and click on the link in the pop-up window). When will it be released? Later this year I hope; although these things usually take much longer (and are more expensive) than planned.

Best,

Henry

P.S. Did you know Dan Newton played on Garrison Keilor's nationally syndicated radio show?

Date: Tue, 27 Mar 2001 21:09:30 -0500
From: lpancott@gte.net
Subject: Purchase of CD "Real Ragtime"

Upon review of your web page, you a CD review of Real Ragtime. I viewed your online store to purchase the CD but it was not listed. Do you plan to list for purchase?

Lynne Pancotti
Granddaughter of Pietro Deiro - accordionist

Dear Lynne,

Some CDs you can order through our Online Gift Store. To order the Real Ragtime CD, however, you must go to the website of the label, Aerophone, by clicking on the link to their website which follows after "review date" and before "Review by Henry Doktorski."

I just performed at a recital in NYC where one of the performers played music by Pietro Deiro. I played two pieces by his brother Guido. I also met Guido's son, Count Guido Roberto Deiro. Are you related?

Best wishes,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Wed, 28 Mar 2001 22:20:43 -0500
From: lpancott@gte.net
Subject: Re: Purchase of CD "Real Ragtime

Dear Henry,

Thanks for getting back to me. Yes, I was at the recital in NYC for both the symposium and concert. I did hear you play, but did not get to chance to speak with you after the concert. I enjoyed your playing very much and it was very humbling to hear the music my grandfather and Guido played and composed.

As I mention, my grandfather (on my mother's side) was Pietro. Yes, I am related to Guido since his father was my grandfather's (Pietro) brother.

I am also the daughter of Mario Pancotti (grandfather Egisto) who manufactured the accordion Excelsior which was also one of the presentations given by William Schimmel. Please let me know if you will be playing in NYC again.

Thanks and best regards,

Lynne Pancotti
Granddaughter of Pietro Deiro - accordionist

Date: Fri, 23 Mar 2001 22:13:12 -0600
From: randdj@swbell.net
Subject: Recording information

Hello Henry,

I have been searching for a recording of the Creston Concerto for Accordion and Orchestra. Are you aware of one?

Thanks

David Janes

Dear David,

The only recording of Creston accordion music I know of is Paul Creston's Prelude and Dance, opus 69 recorded by Robert Davine on Crystal Records. See The Free-Reed Review. Please let me know if you know of others.

On Friday I performed in a recital at CUNY in New York City. On of the performers, Robert McMahan, played a movement from Creston's accordion concerto. McMahan is in the process of recording a CD of late 20th-century accordion music. I believe he is including a solo version of the concerto on the album. You may write to him at: mcmahan@tcnj.edu.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Tue, 20 Mar 2001 20:55:37 -0800
From: aatlas@gc.cuny.edu
Subject: QUERY......HELP!!!!!

HENRY:

do you know of any CDs devoted in part or in their entirety to the music of the deiro brothers, frosini, magnante........i can't seem to locate anything.......need the info by about 10:00 A.M. tomorrow morning.........if you can help, would appreciate it........

Allan Atlas
New York City

Hello Allan,

Aerophone released a CD titled "Real Ragtime" which included original recordings by:

Deiro Rag (1912) composed & performed by Guido Deiro
Hungarian Rag (1914) composed & performed by Pietro Deiro
Compagnia Electro Musicale Excelsior S.R.L. released a CD by silvia Pagni titled "Excelsior Myths" which included:
Frosini: Sweepstake
Deiro: Trieste Overture
Deiro: Argento Vivo
Magnante: Waltz Allegro
Zhang Guoping released a self-produced CD titled Accordion Solos which included:
Olive Blossoms, P. Frosini
Sunlight Records, Inc. released a CD by Stanislav Venglevski titled "Stas!" which included
Frosini: Carnival of Venice
Frosini: Jolly Caballero
Lionel Reekie recorded a CD titled "Starlight" which included
Cubanola (Frosini)
The K Trio recorded a CD titled "Images" which included
Frosini: Olive Blossoms
Believe it or not, that's all that I know about on CD. Carmen Carrozza (a student of Deiro) recorded several LPs of Deiro which were re-released on cassette. I'm sure others have recorded their works on cassette. I know of several LPs of Frosini's music, including one of Frosini performances. I should think someone in the accordion business would produce a CD of original performances by Frosini, Deiro & Magnante. Certainly there is a small but enthusiastic market for this.

Readers, can you name other CDs which I might have missed?

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Sun, 18 Mar 2001 16:09:44 EST
From: Timrued@aol.com
Subject: Howe's Collection

I found your site about Howe's Complete Preceptor for Accordeon (also reviewed at The Free-Reed Review) and thought you might be interested: I have a photocopy I made from an original 1843 edition held by the Healdsburg Public Library in Healdsburg, California. You should be able to put one more library on your list.

Thank you for having the site on line, I would like to put a link to it in my website: Tim Rued - Fiddler.

Elias Howe over the years published many books of music. I consider all of them to be fiddle music collections, some just adapted to other instruments. They are a great resource to me. If you know of any other similar sites of old music collections, let me know if you will. It's great to be able to spread music this way.

Yours,

Tim Rued

Dear Tim,

Thanks for your letter. I have updated the text to include the Healdsburg Public Library in Healdsburg, California, as you requested. Can you tell me anything about one of the pieces in the collection, Mozart's Waltz? I cannot decide whether it was written by the 18th century composer Wolfgang Amadeus Mozart, or by the 19th century folk musician Allan Mozart.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Mon, 19 Mar 2001 23:11:22 EST
From: Timrued@aol.com
Subject: Re: Howe's Collection

Hi.

My studies of fiddle music have shown that in the early and mid-nineteenth century, there was little concern for authorship of tunes. Nowadays we are used to categorizing music into "classical", "pop", "rock and roll", "big band", "bluegrass", etc. Folk musicians for whom Howe's books did the most help, did not generally categorize music. If a tune was good for their use (usually as a dance tune), they went ahead and used it - for the music itself, not because of what category of music it was.

Look in Howe's collections, and you will find Irish jigs, Scottish Strathspeys, German waltzes, and Italian operatic airs, all mixed together as dance tunes. Very seldom are any of them attributed to a composer, though many of them are recognizable from other sources. "Mozart's Waltz" may, indeed, be a minuet by Wolfgang Amadeus, or just as likely by Allan M. An even greater possibility is that some unnamed musician, thinking that the tune reminded him of Mozart's music, dedicated it and named it thus.

There are experts out there on Mozart, who might be able to identify it as his composition were they to hear it played, but I expect the true origin will remain hidden forever. What I find fascinating about some of the tunes in the Accordeon book is the way tunes are used for dances they were not originally for. My favorite example is the "Cinderella Waltz", which in actuality is one of the most famous and recognizable Scottish pipe marches.

Good luck in your projects!

Tim Rued

Date: Thu, 15 Mar 2001 17:24:22 -0300
From: mlrodrig@adinet.com.uy

I'm Marisa from Montevideo - Uruguay. I think your web is very good. The articles are interesting. I play cello and I need to get a free score of Roumanian Folk Dances. This is really important for me because I lost the scores of a friend. Could you help to get them? Please, answer if it's possible

Thanks,

Marisa

Hello Marisa,

Thank you for your kind words about our website. Unfortunately we do not have any free scores. In fact, the free-reed instruments are not free; we have to pay for them. They are called free-reeds because the reed vibrates freely without hitting on anything, as opposed to beating reeds (as in the clarinet, oboe, pipe organ) which strike against another object (the mouthpiece, another reed, the shallot).

My personal copy of Bartok's Roumanian Folk Dances for the piano is published by Boosey & Hawkes.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Sun, 11 Mar 2001 10:41:28 +0100
From: desnoo@noknok.nl
Subject: second freereed magazine

I understood that the next volume of The Free-Reed Journal has been printed. I have subscribed already before the first. This I received more than a year ago. Has the next one been sent off?

Pauline de Snoo
CW Schijndel
Netherlands

Dear Pauline,

Contact Allan Atlas, director of the Center for the Study of Free-Reed Instruments, and the journal's editor, at aatlas@gc.cuny.edu.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Sun, 11 Mar 2001 21:23:03 -0500
From: showman@mediaone.net
Subject: Accordion amps

Dear Sir,

I'm writing in hopes that you can help me find information on an Excelsior Amplifier I own. The amp appears to be from the 1950's and has model number 40-15 on the chassis. Can you tell me if you know anything about the Excelsior amplifiers?

I know it is a lot to ask, but I'm looking to find a schematic for the amp or at least a manual or even sales literature for it or ANY other Excelsior brand amplifiers from the 40's, 50's and 60's. This information is for my personal use only and I would greatly appreciate any help you can offer.

I'm also looking for sales literature, schematics, manuals or any other printed material for other accordion amplifier brands such as Magnatone, Titano, Tonemaster, Da-Vinci,Sano etc...

Also, if you have any tube powered accordion amplifiers for sale please let me know. I am of course willing to pay for the amplifier literature originals or copies. Thank you in advance.

Best Regards,

Jeff Morris
Newburyport, Massachusetts

Jeff,

Perhaps one of our readers can help you.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Sat, 10 Mar 2001 17:34:44 -0500 (EST)
From: TSchlau@webtv.net
Subject: Inquiry

I am trying to locate orchestrations of classical literature for Accordion and chamber orchestra. I attend a meeting of the American Accordion Musicological Society (AAMS) in Phildelphia a few weeks ago and was led to believe that your work was in that vein. Might you have something available for rental? And if not, can you point me in a fruitful direction?

Tom Schlaudecker

REPLY:

Dear Tom,

Certainly some of my work has been with chamber orchestras, * but finding good music and arrangements, however, is not a simple matter, as I'm sure you know. I had to write the arrangements myself for my Christmas album, which includes my Suite on Four Polish Carols for accordion and string quartet, as well as other holiday-themed pieces. All the arrangements on the CD are for sale in one big book; you can order that directly from me. Unfortuately, it is only a conductor's score; no parts.

You can get complete scores plus parts to some of my work at JANPress publications. They offer a catalog of arrangements by other composers as well. Visit them at http://janpress.freeservers.com.

You can find several resources on The Classical Free-Reed, Inc. website. Go to "Reviews" and follow links to "Classical and Avant-Garde Music" and then to "Music Scores." You will find a listing of the catalogs of four publishers; only original works. You can find a pretty good collection of twenty Piazzolla tangos for 2 bandoneons, 2 violins, piano & bass. Look under "Folk and Popular Music."

But you want transcriptions. There you will have to do some searching. My suggestion is to pick up something at a classical music store for string quartet and solo instrument. You play the solo part on the accordion. Of course you may have to make adaptations.

Readers do you have any other suggestions for our friend?

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

* I have performed on accordion with various chamber groups and orchestras, such as the Tanglewood Festival Orchestra (Mauricio Kagel: Orchestrion), Pittsburgh New Music Ensemble (Hindemith: Kammermusik No. 1), McKeesport Symphony (French Caberet Music), Pittsburgh Symphony (Lorin Maazel: Music for Violoncello & Orchestra and Piazzolla: Libertango), as well as other ensembles consisting of Duquesne University faculty (Piazzolla: Adios Nonino, Strauss: Roses from the South, etc.). I have also recorded two CDs with chamber orchestra which might interest you: A Classical Christmas with the Pittsburgh Chamber Orchestra and Music by George Gershwin with the Duquesne University Chamber Players.

Date: Sat, 24 Feb 2001 20:51:40 -0600
From: amadeoedu@infovia.com.ar
Subject: Presentaciòn y Solicitud

Estimado Henry:

Primeramente me presentare a vos,soy acordeonista profesional en mi paìs Argentina. Actualmente integro la compañia del maestro Ariel Ramirez, quien es el autor de la mundialmente conocida Misa Criolla, ademàs de temas internacionales como Alfionsina y el mar. En este momento estoy en un proyecto junto al maestro Josè Bragato, quien fuera durante muchos años violoncellista y arreglador del maestro Astor Piazzolla, junto a el estamos preparando el lanzamiento de un CD con temas de Astor y otros autores re renombre ademàs de incluir temas de mi autoria, ya que tengo muchos temas que he compuesto especialmente para acordeòn. Aquì ademàs, participo activamente en grabaciones de artìstas tanto nacionales y extranjeros que se realizan en estudios de nuestro paìs. Y ademas actuo en presentaciones en conciertos, mega recitales y shows acompañando a artistas nacionales y extranjeros que necesitan incorporar dicho instrumento a sus presentaciones. Mi inquietud es hacerte llegar en la brevedad algunas obras compuestas por mi para ponerlas a tu consideraciòn, junto a un CD interpretando dichos temas.

Amadeo Eduardo Menduiña
Buenos Aires
Argentina

Translation by Gregory A. Vozar:

Let me first present myself to you; I am a professional accordionist in my country Argentina. Actually, I am a part the company of maestro Ariel Ramirez, composer of the well-known Missa Criolla (Native Mass) and of internationally recognized themes like Alfonsina y el mar. [This is a well-known song commemorating the death of a poet, one of Argentina's female literary figures. She committed suicide by walking into the sea; a memorial marks the spot.]

At this time, I am involved in a project with maestro José Bragato, who was for many years Astor Piazzolla's cellist and arranger. Together, we are preparing to launch a CD of music by Astor and other composers, some of my own authorship, which I have composed especially for accordion. In addition, I participate actively in national and foreign recordings done in the studios of our country. I also take part in concerts, mega-recitals and shows, accompanying national and foreign artists who need to have said instrument in their presentations. I'd like to send you some of the music I have written, along with a CD of it, as quickly as possible, so that you can have a look at it.

Date: Tue, 06 Mar 2001 22:36:24 -0400
From: hhegler@nbnet.nb.ca
Subject: Accordion

This request may seem a bit off beat but I am looking for information on a "Busoni Musivox" accordion and so far no luck. Would you have any direction that you might point me to? Thank you in advance.

H. Hegler

REPLY:

Readers, any info for this person?

Date: Sun, 4 Mar 2001 16:11:03 -0800 (PST)
From: fragianni@hotmail.com
Subject: March Review of Music History Webring

I have just completed the March Review of the Music History Webring, and I am proud of the contribution of your site toward making the 'net a better and more informative place! Please let me know if I can be of any assistance.

J. R. Martin, Ringmaster
Music History Webring Ring

Date: Thu, 1 Mar 2001 23:01:24 -0000
From: hugh@hbarwell.freeserve.co.uk
Subject: Thanks

Dear Henry,

Thank you for publishing my article on the French Stradella System on The Classical Free-Reed, Inc. web site. I have read several of the other essays, representing a rich cross section of accordion culture, and I am honoured to be published in this context.

At present my writing efforts are concentrated on a series of guides to assist MIDI accordionists with mastering some of the best-known MIDI accompaniment modules. I have written a guide for the Roland RA-90, two for the Roland RA-800, and am just finishing one for the Orla XM600. These are specialist publications for the accordionist, and available direct from me, at very reasonable prices. I can supply details and prices to anyone who e-mails me. Hugh@hbarwell.freeserve.co.uk.

Best wishes from England,

Yours,

Hugh Barwell

Date: Mon, 26 Feb 2001 14:36:19 -0800
From: valarie@skyblueproductions.com
Subject: Your Site & Lady of Spain

Hi Henry,

When I was researching copyright information about "Lady of Spain", your site came up in the search engine. Do you happen to know if "Lady of Spain" is in the public domain? Do you know the name of the composer and the date when it was composed?

I went to your site, but got stuck on the 2nd and 3rd pages. Ten seconds passed and the pages wouldn't change, so I clicked to the link from the 2nd page to the 3rd and from the 3rd page had to leave your site. I couldn't check out any other pages on your site. Thought you might like to know.

Thanks in advance for any info you have about "Lady of Spain". I'm getting ready to write an arrangement of it and want to be sure it's in the public domain.

All the best to you,

Valarie Morris
El Sobrante, California

REPLY:

Hello Valarie,

I have no idea what was the problem you had trying to access The Classical Free-Reed, Inc. website. I know around 4 or 5 am (EST) the TRFN webmaster backs up the site. At this time you cannot access any sites on their server. Perhaps you can try again.

According to "Search TCFR, Inc." we have 8 pages which mention "Lady of Spain." I don't think any mention both the composer and year of publication.

According to http://www.english.mankato.msus.edu/larsson/gr2.html, Lady of Spain was composed in 1931 by Tolchard Evans, Stanley Demerell and Bob Hargreaves. The author wrote, "the song . . . has become a cliche of accordion music."

Best,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Sat, 24 Feb 2001 12:11:12 -0500
From: showman@mediaone.net
Subject: Accordion

Hello,

I'm writing in search of used "tube-powered" accordion amplifiers. Please let me know if you have one or more for sale or if you can help me in my search.

Thanks in advance,

Jeff Morris

Readers, any leads?

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Thu, 22 Feb 2001 00:24:44 -0000
From: hugh@hbarwell.freeserve.co.uk
Subject: Who invented the Modern Stradella system?

Dear Mr Doktorski,

I am an accordionist currently living and entertaining in York, England.

I am trying to find out who invented the *Modern* Stradella system. I have read that Dallape in Stradella invented the basic system in the late 19th Century, but I am not sure that he was responsible for leaving the fifth out of the dominant 7th buttons and the diminished fifth out of the diminished 7th buttons, which have made these three-note buttons so versatile. Have you any information for me on this?

Thanks,

Hugh Barwell
York , UK

Dear Hugh,

The earliest reference to the Stradella left hand system I have seen is from Alfred Mirek's Reference Book on Harmonicas.

"In 1880, an instrument was made by Tessio Jovani in Stradella, Italy which included preset registers with the names of tutti, violina, celesta, flute, organ and tremolo and a bass-chord accompaniment with sixty-four buttons in the left hand."

Regarding omitting 5ths from chords, Ove Hahn wrote in Anthony Galla-Rini -- On His Life and the Accordion (Stockholm: Nils Flacke Musik, 1986), page 34:

1924 . . . While in St. Paul, Minnesota, Anthony indulged in an experiment on the left hand button keyboard of his accordion. Having learned from Traditional Harmony that the normal (perfect) 5th in the (dominant) 7th chord can be omitted, yet the identity of the chord will still remain. Anthony went into the left hand mechanism and filed off the pin on each of the 7th chord button that caused the 5th to respond, thereby eliminating the 5th. The several resulting advantages are as follows:
A In the music of the Great Masters, based on Traditional harmony, the 5th is omitted frequently.

B The augmented 5th (raised 5th) or Diminished 5th (lowered 5th), when needed, can be played on the right hand. There will be no dissonant clash with the left hand;

C The normal 5th can be restored in the left hand by combining the Major and the 7th chord buttons simultaneously or, sometimes, the 5th may be the bass button.

From that time on, Anthony has advocated the elimination of the 5th from that chord button -- time and logic has proven him to be correct."

On page 52, Hahn wrote:

[In 1950] During his stay in Europe, Anthony visited the various factories in Norway, Sweden, Germany and Italy, as a representative of A.T.G. And presents to them the following standardizations for the Stradella system accordion:

A the elimination of the 5th from the (dominant) 7th chord buttons. Accepted by all factories.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Mon, 26 Feb 2001 00:36:09 -0000
From: hugh@hbarwell.freeserve.co.uk
Subject: Re: Who invented the Modern Stradella system?

Dear Henry,

Thank you very much for your speedy and helpful replies. I had visited The Classical Free-Reed, Inc. website once or twice in the past, and have now seen your archived correspondence concerning whether the name Stradella came from the composer or the town.... town, I'm sure. The accordion museum at Stradella strongly maintains that Dallape invented the entire thing.....

I am quite happy within the constraints of the Stradella system, and since working out (for myself) some of the combinations that are possible, I have often wondered when all the design work was done. It seems that the system has evolved over the years, and that this omission of the fifth from the Dominant 7th chord button is the most recent tweak.

I wonder whether the "Diminished" button ever contained its diminished fifth? That would be quite restricting, as the button could then only be used for the Diminished 7th and the 7b9.

The trend for leaving out notes continues! I gather that some diatonic boxes for folk use are now omitting the third from what we used to call major and minor chords, so I suppose we have to call those "power chords" now! Whether this is to save having to have majors AND minors, or whether they think the medieval sound of bare fifths is more folky, I don't know. This trend wants watching, or we'll end up with nothing but the tonic, and we'll all have to play free bass!

Some years ago, I wrote a series of articles for the "Accordion Times" about Stradella possibilities, the fourth of which was on the so-called "French" Stradella system. Albert Delroy, who I spoke to on the phone during my research for this article, was, I believe, a pupil or friend of Anthony Galla-Rini.

All the best,

Hugh Barwell
York , UK

Date: Tue, 20 Feb 2001 00:11:31 -0500
From: eddye@aasdcat.com
hello,

i bought an antique hohner tenor toy brass saxophone. it's all brass and has the hohner name on it and is really unique. i bought it because i play the sax. i would say the toy is at least 60 years old or older. it's in very good condition for it's age. can you tell me what you think the value of this toy is?

thank you,
ed mack

Dear Ed,

I assume it is a free-reed toy saxophone. I really don't know. Perhaps you might do an internet search. Readers, any suggestions?

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Sat, 17 Mar 2001 17:38:00 +0000
From: patm@globalnet.co.uk
Subject: Hohner Sax

The Hohner Sax was one of a line of blow-accordions produced by Hohner around the 1920s. They were similar to German/Cajun style accordions, having ten melody buttons (diatonic scale) and two accompaniment buttons, except that they only had one reed for each note and, of course, no bellows, as they are mouth blown. As well as the Hohner Sax (which, not surprisingly, was shaped like a small saxophone), they also made the Hohnerette (which was a rectangular box with a trumpet-style mouthpiece at the top; some models had one or more brass horns attached to the top of the box) and the Hohner Organette, which was a cylindrical version. Similar instruments were made by other makers in Germany.

In some ways, they could be viewed as forerunners of the melodica.

As for value, it is worth whatever someone is willing to pay for it! Typically, the seem to sell for between $50 and $150 depending on the condition. A damaged, one recently sold on eBay for about $20 and a few years back, I saw a slightly tarnished one for sale in a junk shop in Texas for the princely sum of five dollars. I'm still kicking myself for not buying it!

Finally (in the next letter), Alan Bates mentioned the Hohner Claviola. I picked up a couple of these just after they were discontinued and I think they are wonderful instruments. Although the comparison with the melodica is an obvious one, they are unique instruments with a somewhat different way of utilising the free reed. If you read German, you can see the patent for Hohner hold on the sound generation method by following this link: http://www.delphion.com/details?pn=EP00596462A3

The sound they produce sounds more like a clarinet than a melodica and the notes produced can be bent and vibrato added by partially covering the pipes with the thumb, making it a very expressive instrument. Also, the pipes have tuning slides on them, making retuning quick and easy, so it's an ideal instrument for those exploring alternative and/or historical tuning systems. One of my Claviolas (Claviolae???) is currently in a 1/4 comma meantone tuning and sounds superb.

The Claviola was supposed to be the first in a new line of instruments utilising this new sound generating principle (actually, it's not all that new - in may ways, it resembles the use of the free reed in the Far Eastern mouth organs, such as the sheng). One can only speculate what forms these other instruments may have taken, as it is very unlikely that Hohner will ever develop them.

If there are any other questions that Mike Hearst's site does not answer, I will be happy to try to answer them here. In the meantime, you might still be able to acquire one of these unique instruments from this site: http://www.xanadu.co.jp/H-melodicas.html

I might add that the Hohner Claviola should not be confused with the mechanical instrument also called claviola. Also, those of you who watch the TV show Ally McBeal" may have heard one without realising it, as it is a favorite instrument of Mitchell Froom, who does much of the music for the show.

I hope all of this is useful. All the best,

Pat Missin
United Kingdom

Date: Thu, 15 Feb 2001 23:36:43 -0500
From:harmonicas@compuserve.com
Subject: Claviola

It's been about 10 months since my collection made the trip to the Shrine to Music Museum in South Dokota. You can get a few more details from my web site www.antiqueharmonicas.com.

Since then I've continued to acquire harmonicas and related instruments that were not in the original collection. Just last week I received a now-obsolete instrument made in ca 1995 by Hohner called the Claviola. It's really quite remarkable and I wonder if you've heard about it. Because it was so expensive I don't think many were made and Hohner discontinued it.

The main claim to uniqueness is that it combines the features of the Hohner Melodica and that of a fixed reed instrument such as a clarinet in that the sounds are produced in individual "vibration tubes" of varying lengths. One blows in a single tube and plays single or multiple notes on a keyboard. The volume of sound varies with the force of the air stream, like with fixed reed instruments.

If you are interested in learning more I'll be glad to send you details. Here's an idea of what it looks like, front and back.

Best wishes,

Alan G. Bates
Wilmington, DE

Dear Alan,

Thank you for your letter and photos. A search for "claviola" on The Classical Free-Reed, Inc. website revealed only one page where it was mentioned, in Readers Letters' 2000.

A Google search revealed a very nice site, Michael Hearst's Question and Answers About the Hohner Claviola.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Tue, 13 Feb 2001 01:37:50 +0100
From: kit@macrosoft.pl
Subject: Harmonica Trio

I like to read yours critiques of compact discs at the Free-Reed Review. Have you ever heard the harmonica Trio "Con Brio" with leader Zygmunt Zgraja? Go to http://www.conbrio.myslowice.pl/index1.html. Maybe you could write your opinion about this group.

My kind regards from Poland.

Krzysztof Odyniec
Warsaw, Poland

Dear Krzysztof,

Thank you for your message. I have heard of Zygmunt Zgraja and have a recording of him with accordionist Bogdan Precz, which I received from Bogdan before his death.

We will be happy to review any CDs by Con Brio. We will be pleased if you could arrange to have them send us some CDs.

My father speaks Polish, but as my mother doesn't, I never learned the language. I would like to visit someday. I have some distant relatives there. My great great grandfather was an organist in Poland.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Thu, 1 Feb 2001 10:39:41 +0800
From: angelina@public3.bta.net.cn
Subject: about concert trip in USA

Dear friends,

I returned from USA some day ago. The whole concert tour was a very big success, with standing ovations all over..... Perhaps I will visit USA for a concert trip again in April--May....I will let you know when I have more news about it..... When I played a concert in San Francisco, I met Mr. Bob Berta. He is a wonderful person.... I hope can meet you in 2001... Keep in touch.

Your friend,

Zhang Guoping
Beijing, China

Date: Thu, 1 Feb 2001 00:58:41 EST
From: Hyuthere@aol.com
Subject: Music of Eugene Ettore

Hello Henry!!

I will be presenting a workshop on the "Music of Eugene Ettore" the first weekend in March at the King of Prussia accordion event. When I found out the exact day and time, I will inform you.

The following weekend{ March 9-11} I will present the same workshop at the Texas Accordion Association Convention in Dallas. Click on Annual Festival.

I will also be participating in the International Accordion Orchestra conducted by Gary Daverne. I went last year. It is a fun, very worthwhile experience for all types of accordionists at all levels and styles of playing. Norman Seaton organizes a fantastic accordion event that has something for everyone!! Among the workshop presenters and performers will be: Santiaga Jimenez.Jr., Professor John Duijka, Dr. George Ramphrey, Debra Peters, Nick Ballarini, Jim Rommel, John Hodgins, "K"Trio, Gordon Kohl, and John Simpkus.

Just to inform you and your readers: I will be visiting Carol Ettore {Eugene's daughter} within the next 3 weeks to look over Gene's files and see what music there is. If there are any accordionists out there who are looking for specific pieces by Eugene Ettore, they may e mail me at: Ritabelll@aol.com. I would be happy to check and see if the music is available. As you already know, I am interested in seeing that more of his music is performed.

My cassette is also for sale. It includes: Rhapsodie Espagnol, Lullaby and Awakening, Concert Etude, Contrast, among others. Interested musicians can contact me at the same address.

I am planning on attending your concert in New York on March 23. I hope you will inform your readers of the event. It will be very informative and exciting.

Thank you again for organizing The Classical Free Reed, Inc. web site! Every time I visit it, I learn something new about the accordion. It is an Accordion World, after all!!

Musically,

Rita Davidson
West Orange, New Jersey

Date: Wed, 31 Jan 2001 14:51:01 -0500
From: hulan@erols.com
Subject: Galizi, &c.

Hello -- I may have emailed you before, about bayans. I know my friend Jim Vandelly has. Anyway, this query relates to the fact that you have at least played upon Fomeen's double-keyboard Galizi at the Library of Congress (see The Accordion and Gershwin's Rhapsody In Blue). (Jennifer Cutting is also a friend, though not particularly through accordion music -- I'm a folklorist.)

I have an E. Galizi & Bro. catalog printed in 1921, updated in pen and pencil notations through 1924. It looks to me as if they patented the master switch in Italy, and separately in the US later, in 1917. Wonder if you happen to know? It is claimed elsewhere (in that Flynn - Chavez - Davison "Golden Age" scrapbook) that Excelsior introduced the master switch. It may be that Galizi just invented the palm type (slap action), to replace an earlier thumb slide version. I haven't looked up their patent numbers, or anything.

The Bro. was Ottavio Galizi, but what was the given name of the senior brother? All I have seen is "E."

The Galizi catalog is much more complete than a contemporary one from Iorio, and I think this firm was influential before Excelsior was. Just an impression, I don't know the economic history in any detail. But I wonder if the relatively better documentation of some other firms that survived later (Iorio, Giulietti, and several in Chicago and San Francisco) is primarily a function of marketing in the 1940s and beyond, rather than excellence of the product much earlier in the century.

Dick Hulan
Springfield VA

Dear Dick,

Very interesting. I don't know enough about it to comment, but I would appreciate it if you would keep me posted from time to time about your research. Our readers would enjoy it. Perhaps one of our readers may have some information for you?

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Wed, 24 Jan 2001 21:30:54 +0100
From: goran.rahm@telia.com
Subject: concertina bands

Dear Henry Doktorski

I would like to comment a little upon the part about concertina bands in your absolutely excellent homepages. I do it only because I am convinced that you want your ambitious information to be as correctly understood as possible.

In your article, The Classical Concertina, you wrote, "Concertina bands became popular in England (especially in the northern mining towns) and St. Petersburg Russia (in the late 1870's). Instruments were made in three sizes (treble, tenor-treble and baritone) enabling the performance of quartets played from string parts."

I am afraid you unfortunately mix two/three major types of events here. I think we ought to separate.

A. The development of ensemble performance with concertinas in the 'classical' art music environment based on consorts resembling string ensambles or other mainly small mixed 'chamber' ensambles including for example flute, clarinet, piano et cetera: This took place mainly 1840-1880 or so (in England) and the instruments used were as you say treble, tenor ( hardly "tenor-treble" since this particular name of a specific model probably was not introduced until around 1900 ) and baritone, but also bass. The later mostly to do violoncello parts and starting from C2. The social background of these ensambles certainly still was middle/upper class.

B."The concertina band movement" - a music ensemble activity mainly among the working classes and consequently located as you mention in the great industry places in northern and middle England. Roughly this went on from 1880-1920 but some bands existed longer. Most of them started with Anglo concertinas since these were the typical worker instruments but later English concertinas in different sizes were added and mainly to correspond to the instruments used in brass bands as the repertoire (and arrangements) copied the popular brass bands with their more prestigious and expensive outfit. Consequently the instruments were modified also to do the respective transposing parts of the brass band and different basses and baritones were introduced as well as special models like the "clarionet". In England there were also a great number of concertina bands within the Salvation Army during the same period and with mainly the same locations.

C. The very special activities in St Petersburgh (and maybe some spread in other cities in Russia, Moscow?) which I don't know so much about, but if I got the hearsay right consisted of a couple of events also. Maybe you have yourself some good information on this bit - I guess you have some Russian background too?

Anyway:

1. Probably like in the rest of the western countries some 'classical' - upper class - use of the early (British) concertinas spread to Russia but probably a bit later than in England, resembling the category A above.

2. Tuition on concertina has been said to have been introduced in schools in St Petersburgh. If true I guess this must have occured in some upper class school(s) with some kind of British social influence.

3. It has been claimed that the concertina even was introduced at the musical conservatory at St Petersburgh but I haven't managed to get it confirmed. I recall a notice that Tjaikovski composed some piece for concertina. I haven't seen any documentation about concertina ensembles in Russia, only individual performers. You know Eric Matusewitch I guess - have you discussed this with him?

Very best wishes, looking forward to hear from you.

Goran Rahm
Secretary of Swedísh Concertina Society
Uppsala, Sweden

Dear Goran,

Thank you so much for this information; I am grateful for the opportunity, by your kindness, to make my article more accurate. I will incorporate the points you mentioned into the article.

I haven't heard that Tchaikovsky wrote for concertina. I do know he included four accordions (diatonic push/pull variety) in his Orchestral Suite No. 2 (1883). Perhaps that is the reference, as sometimes the names of accordion and concertina were interchanged. I have seen the score of Charle Ives' "Orchestral Set no. 2" (1915) which uses a band of unison accordions. On some pages the score is marked "accordion" and on other pages it is marked "concertina" although the music is obviously not written for two groups of instruments. Apparently Ives did not know the distinction between the instruments, or did not care, as both would suffice.

The following is from my some-day-to-be-published book (whenver I get around to finishing it), The Classical Squeezebox.

In 1915, the American composer, Charles Ives (1874-1954), used a chorus of diatonic accordions (or concertinas) -- along with two pianos, celesta, harp, organ, zither and an optional theremin -- in his Orchestral Set No. 2. The accordion part -- written for the right-hand only -- consists of eighteen measures at the very end of the eighteen-minute-long three-movement work.

Thomas M. Brodhead described the third movement, titled From Hanover Square North, at the End of a Tragic Day, the Voice of the People Again Arose, "Ives considered this movement to be one of his best works, and he had many good reasons to believe so: It is a programmatic piece employing an 'abstract' form; the score calls for a separate instrumental group physically removed from the main orchestra; and there are sophisticated rhythmic subdivisions in the individual parts that give a layered, three-dimensional quality to the musical texture.

"Ive's inspiration for this music comes from a tragic historical event: the sinking of the British ocean liner Lusitania by a German submarine off the coast of Ireland on May 7, 1915. Over a thousand people perished, including 128 Americans.

On the afternoon following the disaster, Charles Ives went home from work by taking the 'L' train from Hanover Square Station in New York. All the people on the commuter platform that afternoon were consumed with talk of the tragedy. In the midst of this, a nearby organ grinder began to play the gospel funeral hymn In the Sweet Bye and Bye. One by one, the commuters joined in song until all were singing in lament of their lost countrymen. As they sang, the train came rushing in, but their song was not broken. Each commuter continued singing while boarding, and the song was only broken by the departure of the train with its passengers. In its wake, all that remained was the organ-grinder who continued to play the hymn in the empty station."

Brodhead continued, "Ives depicts this event vividly using his most sophisticated compositional techniques. The music is a fantasy of the hymn In the Sweet Bye and Bye, and the form is an enormous crescendo that swells from silence to a powerful climax and then dies away. . . .

"The main orchestra enters very gradually . . . In the Sweet Bye and Bye is played by one instrumental group, then another, until at the climax the entire main orchestra is sounding. . . . After the climactic final statement -- at which point the train can be imagined rushing out of the station -- the main orchestra begins to die away, and the sound of an accordion playing the theme can be heard in the gradually thinning texture. This vividly depicts the organ grinder alone in the wake of the locomotive."

Thomas M. Brodhead, CD booklet notes for Charles Ives: Universe Symphony, Orchestral Set No. 2, The Unanswered Question, performed by the Cincinnati Philharmonia Orchestra, Gerhard Samuel, conductor (Cincinnati: Centaur Records, Inc., 1994), 7-8.

Curiously enough, I couldn't hear any accordions on the CD, apparently because Samuel and the orchestral personnel manager couldn't find or didn't try to find classically trained accordionists who could follow the score. Although the part is technically easy, the timing is very difficult as it uses mixed meters.

I will contact Eric Matusewitch and ask him if he has more information.

Once again, thank you for your letter.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Fri, 26 Jan 2001 18:58:36 +0100
From: goran.rahm@telia.com
Subject: SV: concertina bands

Dear Henry,

Glad to hear you evidently appreciated the little contribution... You wrote:

I haven't heard that Tchaikovsky wrote for concertina. I do know he included four accordions (diatonic push/pull variety) in his Orchestral Suite No. 2 (1883). Perhaps that is the reference, as sometimes the names of accordion and concertina were interchanged.

I guess that might very well be correct. The notice I referred to can' t be remembered at the moment - it will pop up again by accident some time where I read it and then I will try to check it better. You need to see some original comment or the score to know of course. I wouldn't be astonished though if it was some concertina piece in real too - if so maybe just a short passage to give some colour.

I have seen the score of Charle Ives' "Orchestral Set, No 2" (1915) which uses a band of unison accordions. On some pages the score is marked "accordion" and on other pages it is marked "concertina" although the music is obviously not written for two groups of instruments. Apparently Ives did not know the distinction between the instruments, or did not care, as both would suffice.

I vaguely remember from some old British dictionaries that they only got "concertina" for "squeezeboxes" not "melodeon" or "accordion" so the free-reed novice would easily be confused.

May I ask where you got your information? It seems more reliable than the source (I don't remember where I saw it) I found. Does your society have a webpage?

Well - I have been 'in' concertinas for 25 years and have been quite a lot to England.We don' t have a webpage. Small society - literally dying out I'm afraid :-)

Best regards

Goran Rahm
Secretary of Swedísh Concertina Society
Uppsala, Sweden

Date: Wed, 24 Jan 2001 22:19:11 +0100
From: loescher-mig@dialup.nacamar.de
Subject: Lips Book in English

Dear Henry,

Just learned from Mr. Ulrich Schmülling that you have a review of Friedrich Lips' book The Art of Bayan Playing on your website. I must say, it really does the book justice. The reasons Robert Karl Berta gives for reading/studying the book is exactly why I devoted my (considerable) time to translating it. (My learning to play bayan with a Russian teacher here in Germany gave me the edge I needed to understand Lips' comments. However, before the translation was finished, I worked through the book 11 times and had Marian Kelly, former president of the San Francisco Bay Area Accordion Club, read it through to present her comments, nearly all of which were also incorporated).

Quite frankly, after learning to play piano accordion in the United States as a little girl, I always yearned to play classical music on the instrument. However, the time was not yet ripe. I had to wait until 1992, when I first attended the Klingenthal International Accordion Competitions to hear Russians playing music on their bayans. At the same time, I obtained one of the first copies of the Lips book just brought out in German, from Schmülling. I couldn't put it down until I had read it the same night. I was so excited about the classical approach presented in the book, it was my desire to become a bayanist, too. But I also knew the information contained in that book had to flow into the western world -- in English. I even knew I would be the one to make that Happen.

However, first I had to find a Russian teacher, obtain a bayan, and start playing classical and entertainment music on the instrument. Then as one of the few Americans who plays a bayan based on the Russian method, I was probably the only person in the world who could do a translation of the book into English justice.

It truly justifies all the free time I devoted to translating to hear that it was a success. Thanks for your unsolicited support!

Sincerely,

Willoughby Ann Walshe
Frankfort, Germany

Date: Wed, 24 Jan 2001 06:19:38 -0800 (PST)
From: andykarp@yahoo.com
Subject: 'Classical' accordions in Louisville KY

Hello!

I love your site and will pass it on to more lovers of the classical accordion!!! It is extremely extensive and when I get some free time, I intend on exploring.

I found a link to your classical free-reed site from Stefan Hussong's site. I play in a 6 piece accordion group called Akordeonam (and yes, Mr Hussong is our hero too). The group consists of 4 stradella, 1 free bass and 1 bass accordion. The group 'leader' is Dexter Haynes who studied with William Kuehl and Galla-Rini. We all have 'day' jobs but still find time to practice regularly. We play everything from modern original accordion music to Renaissance.

Just wanted to say Howdy from Kentucky where classical accordion is still alive and well. One of our members just played with the orchestra when Pavarotti was in town. Mr Pavarotti said during a rehearsal, "More accordion, less orchestra!"

Regards,

Andy Karp

Dear Andy,

Thanks for an inpsiring letter! I'm sure our vistors will enjoy reading about you on our "Readers' Letters" page. I believe most of our visitors are familiar with the great classical accordion legend, Anthony Galla-Rini (b. 1904). I met him thrice; at the ATG 50th anniversary festival in 1990, in 1994 when I visited him in California and again in 1996 when he and his wife, Dolly, attended a recital I performed in San Diego. Quite a gentleman. He still teaches an annual accordion camp.

William Kuehl is less known. I believe he was an accordionist, composer and arranger. If I remember correctly, he invented a sophisticated and efficient free-bass system for the left hand, but it never caught on. A short excerpt from his Sonata can be found in an article by Donald Balestrieri originally published in Accord Magazine (1979) which is on the web at http://www.accordions.com/index/art/stradella.shtml.

Best wishes for continuing success.

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Sun, 21 Jan 2001 15:21:44 -0600
From: tyler@gassville.net
Subject: Accordion Repair

I'm hoping you can help me locate someone between Little Rock Arkansas to Springfield Missouri to to repair an accordion. It's hard to practice when everything doesn't work right. I have found one place on the East Coast but I hate to send it so far from home if I don't need to. Thanks

Naomi R. Tyler
Gassville AR

Dear Naomi,

You might contact Joan Sommers at sommersj@umkc.edu, the head of the UMKC accordion orchestra in Kansas City. Perhaps she can offer assistance.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Fri, 19 Jan 2001 12:12:57 -0700
From: starkland@prodigy.net
Subject: thanks

We've just seen your review of Guy Klucevsek's Free Range Accordion. Thanks. Please pass on our thanks to Steve Mobia.

Starkland Records

Date: Thu, 18 Jan 2001 09:30:58 -0500
From: GARZARJ@chplink.chp.edu
Subject: accordion sales

Henry,

Do you know if there is anyone selling new accordions in the Pittsburgh area? One of our medical staff is retiring ( a woman) and her department would like to buy her an accordion as a retirement gift. She expressed that she always wanted to learn to play. I am thinking that they want something small, beginner type 12 - 48 bass, not too expensive. Also they need it in about 3 weeks. Do you have any ideas?

Joan Garzarelli RN, MSN
Director, Clinical Effectiveness and Quality Services
Children's Hospital
Pittsburgh, Pennsylvania

Joan,

Try Mario Mosti (724-834-4261) in Jeanette. I imagine he's been in the accordion business for close to 70 years. Paula Thomas at PANDATHOMAS@webtv.net may know other dealers. Tell 'em both I said "hi."

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Tue, 23 Jan 2001 15:38:05 -0500
From: GARZARJ@chplink.chp.edu
Subject: Re[2]: accordion sales

Henry,

Thanks for the info. I have known about Mario for many years, in fact took lessons from a student of his and have visited his shop many times. I heard he had retired and was not sure that he still kept up with the business. I have been a member of the accordion list serve off and on the last couple of years. I noted your URL as Duquesne University, have purchased your CD and watched your website develop. I myself am an amateur accordionist, but I just love that we have a young professional musician/accordionist of your stature in our area.

Joan Garzarelli

Date: Tue, 16 Jan 2001 11:43:19 -0500
From: FabinskT@tacom.army.mil
Subject: Piazzolla Scores

I've been practicing my Borsini a little. I've been playing from what I refer to as a fake book of French songs published by Paul Beuscher which my wife picked up in France a number of years ago. It's Volume 4. I'm trying to get Volumes 1, 2, 3 and 5. Also I ordered a Wolmer Beltrami transcription (?) of "Tango di Astor Piazzolla" but I'm not sure if it's an arrangement of one of (or many of Piazzolla's) tangos from SheetMusicPlus.com. SMP.com couldn't find out from the publisher how many songs were included. So, I just ordered it and I'll find out. I'll let you know the result in a couple weeks if and when it arrives.

In one of your letters on TCFR, Inc. Readers' Letters pages you mentioned that Aldo Pagani is the publisher of Piazzolla's music. But when I asked Aldo what he would charge for (just) one of Piazzolla's pieces, he said $20. Too rich for me. It would sure be nice if Mel Bay or somebody could pick up a license from Aldo.

Thomas Fabinski
Warren, Michigan

Date: Sun, 14 Jan 2001 19:15:25 -0000
From: a2zpr@a2zpr.fsnet.co.uk
Subject: HELP!

Hello!

My name is Sarah Diggens, I am currently studying for a music degree at the University of East Anglia. As part of my course, I have to write a dissertation which I have chosen to do about the History of the Accordion. I am very interested in your book 'The Classical Squeezebox' and was wondering how long it would take to receive it (manuscript or otherwise)? because my deadline is not far away!

If you could get back to me as soon as possible, I would be extremely grateful.

Yours sincerely.

Sarah Diggens
Norwich, United Kingdom

REPLY:

Dear Sarah,

Normally it takes less than a week by airmail. Express mail is faster, but more costly.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Wed, 10 Jan 2001 18:57:07 -0500
From: mabelson@telerama.lm.com
Subject: Composition for Alphen Opus 2

Hello again. We corresponded briefly a few months ago on the subject of Wurthner. (See Readers' Letters 2000.) I wonder if I might ask you a few technical questions?

I am planning a piece for Alphen Opus Two, and have purchased some accordion methods and technical exercises (so that I can familiarize myself with the instrument). However, I need more information - specifically:

What is the possible range of bass clef notes possible on the instruments Alphen uses?

I assume, from photographs, that the keyboard range is from F below middle C to three octaves and a fraction above. Is this correct?

Is it possible to negotiate bass passages as quickly as treble keyboard passages?

Do the instruments that Alphen uses have different registration and tone-color possibilities? If so, what might they be, and how quickly can one change from one to another?

Does the use of the bellows limit the ability to play different rhythms in the right hand and bass simultaneously?

Due to the non-sequential layout of the bass, is there any sequence of notes that is so difficult as to be impossible?

If the ensemble has ten accordions, should I write ten separate parts, or perhaps five to be doubled?

Am I in way over my head?

Can you recommend a book that would have the answers to the above?

I know this is an imposition on you, and I apologize, but who better to ask?? Thank you so much.

Michael A. Abelson

REPLY:

Dear Mike,

What is the possible range of bass clef notes possible on the instruments Alphen uses?

I don't know. The left-hand range of free-bass accordions begins at E1 (E 4 1/2 ledger lines below the bass staff) to G5 (G above the treble staff). I don't know if Alphen uses free-bass instruments. More about left hand later.

I assume, from photographs, that the keyboard range is from F below middle C to three octaves and a fraction above. Is this correct?

Accordions come in all sizes. The standard right-hand piano-accordion keyboard ranges from F3 (F below middle C) up to A6 although concert models often begin at E3 and extend to C7. Chromatic right-hand button instruments have a much greater range. Of course this is only the written range as the accordion is a transposing instrument like the organ.

Is it possible to negotiate bass passages as quickly as treble keyboard passages?

No; although virtuoso players get pretty darn close.

Do the instruments that Alphen uses have different registration and tone-color possibilities? If so, what might they be, and how quickly can one change from one to another?

The standard accordion has four ranks of reeds for the right-hand manual: bassoon (16' reeds), clarinet (8' reeds), violin (8' reeds tuned slightly sharp used only in conjunction with the clarinet stop), piccolo (4' reeds). The bassoon and clarinet reeds are encased in a wooden chamber which mutes and mellows the timbre. The uncased violin and piccolo are brighter and reedier. A performer can quickly change from one combination of stops to another by pressing one of eleven or more register combination switches. Concert instruments include chin stops so players can switch stops without moving the hand from the keyboard to the grill (where the register switches are located).

Does the use of the bellows limit the ability to play different rhythms in the right hand and bass simultaneously?

No, but it does make extremely long and loud tutti phrases impossible to play for long without switching bellows direction. The manuals are inextricably tied together by the bellows; when one manual crescendos or decrescendos, the other manual must do so also.

Due to the non-sequential layout of the bass, is there any sequence of notes that is so difficult as to be impossible?

The standard stradella left-hand manual IS arranged sequentially according to the circle of fifths.. Virtuoso players can play practically any melodic line at any speed. However, chord combinations (even with a free-bass instrument) are limited.

You should know that most music for accordion ensemble is only written for right hand as the left projects feebly in comparison. Orchestral accordions (called soprano accordion, alto accordion, tenor [or cello] accordion and bass accordion) are manufactured for exclusive use in accordion orchestras. They have no left-hand reeds or buttons and are much lighter in weight and easier to play.

Some of the most incredibly beautiful accordions I have ever heard were the instruments built by Piermaria played by the members of the great French accordion quartet, Quartuor Chevalier, led by Claude Chevalier. Of course these instruments had no left hand manual.

If the ensemble has ten accordions, should I write ten separate parts, or perhaps five to be doubled?

That's entirely up to you. Variety is the spice of life. Composers sometimes have all the instruments of the orchestra play in unison to emphasize a certain line. At other times, each instrument might play independent lines. I believe the Polish composer Krzysztof Penderecki wrote 47 individual violin parts for his landmark Threnody of the Victims of Hiroshima (1960) -- not to mention the viola, cello and double bass parts.

Am I in way over my head?

A journey of one thousand miles must begin with a single step.

Can you recommend a book that would have the answers to the above?

The best book that I have seen in English which addresses the questions listed above is Joseph Macerollo's Accordion Resource Manual (1980) published by Avondale Press. I believe it is out of print but you can get it through an interlibrary loan at the Carnegie Library. You might also contact Alphen Opus Two directly for specific information about their particular instruments.

By the way, Alphen Opus Two has just released a CD of their Pittsburgh performance which I have received but not yet reviewed.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Fri, 12 Jan 2001 14:14:44 -0500
From: mabelson@telerama.lm.com
Subject: Re: Composition for Alphen Opus 2

Thank you so much for the information.

Ms. van Holland sent me the CD. It is spectacular.

Well, I am going to dive in and create a rather bizarre composition for Alphen. The worst-case scenario is that they will laugh at me. But after all, I have no reputation to be concerned about!

Thanks again for your encyclopedic knowledge. Please let me know when you perform. I would like to meet you.

Mike

Date: Fri, 05 Jan 2001 07:50:28 -0800
From: zajal@redwoods.quik.com
Subject: "Oblivion" by Astor Piazzolla

Dear Sir,

I was reading your delightful account of the brass ensemble concert when I came across the name of a solo composition by Astor Piazzolla. I have been trying to locate sheet music by Piazzolla for several years, with no success. Patelson's, the huge Manhattan sheet music store, has only a flute sonata. Clearly, I've been looking in the wrong places. It would be most kind of you to let me know where I can purchase such music. I am a long-time professional arranger, and even if it is for bandoneon or free-bass accordion, I can probably make it work.

Many thanks,

Joseph Byrd

REPLY:

Dear Joseph,

A few years ago I wrote a music-score review of an anthology of Twenty Piazzolla Tangos. On that page you will find the name, address, phone number and link to the website of Les Editions Universelles, a company which claims to sell up to 4000 titles including more than 1000 tangos. I'm sure there are other publishers of Piazzolla's music as well.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Sat, 06 Jan 2001 06:16:59 -0800
From: zajal@redwoods.quik.com
Subject: Re: "Oblivion" by Astor Piazzolla

Dear Henry,

Thank you for your help. I'm afraid I'm the only accordionist with the skills needed to tackle Piazzolla tangos here on the rural northern California coast, but I might be able to transcribe something from the sextets. I've also asked them about any solo music that might be in publication. Oblivion is not among the collection you reviewed. Do you know where it can be purchased? Joseph

REPLY:

Hello again, Joseph,

My lead sheet score of Oblivion is published by:

Aldo Pagani Editore
Via Rossini 8
20090 CESANO BOSCONE
MILANO ITALY

tel 02/48601171
Fax 02/48600310

Henry

Date: Mon, 29 Jan 2001 07:21:23 -0500
From: FabinskT@tacom.army.mil
Subject: Piazzolla Henry -

I received "il Tango di Astor Piazzolla" from sheetmusicplus.com on Saturday. It is 8 solo accordion pieces arranged by Wolmer Beltrami and published by Berben in 1999. The pieces are: Fracanapa, Milonga sin Palabras, Revirado, Jeanne y Paul, Che Tango Che, Decarisimo, El Penultimo, and Adios Nonino. The book is 52 pages with about 4 staves per page. Both clefs are written out and the arrangements seem eminently playable. There is a duet part written for part of Adios Nonino. Being able to order this book on-line is certainly an advantage. It cost $23 US plus shipping.

Thomas Fabinski
Warren, Michigan

Date: Wed, 4 Apr 2001
From: zajal@redwoods.quik.com
Subject: Piazzolla

I'd be most interested in knowing if these are indeed "eminently playable" on piano accordion, or are simply bandoneon transcriptions, which I find very difficult for the left hand, as I do much piano music. That is, are there chords, or simply notes that must be transcribed more or less to fit a standard instrument?

Thanks for the information.

Joseph

Date: Thu, 5 Apr 2001
From: FabinskT@tacom.army.mil
Subject: RE: Piazzolla

These have been arranged by Beltrami to be played on the piano accordion. The left hand is written out for the piano accordion - bass notes within one octave and chord symbols. By "eminently playable" I mean you still have to have some skill level but even I can play some passages. These are not bandoneon transcriptions.

Regards,
Tom

Date: Thu, 04 Jan 2001 22:36:04 -0200
From: luigi@annex.com.br
Subject: An instrument with piano keyboard on both sides.

I play the piano, just classical: to use my piano training in full, is there in the world an instrument with just one register, of beautiful sound, just two reeds per note, one wind in and the other wind out, with a piano-like keyboard, just like the right hand, for the left hand? That seems to me quite a natural thing.

Please help me to find one, I need it to use my piano skill in the open, in youth campfires, to show them how uplifting classical music is. I am sure to buy such an instrument if it exists.

Please help me Mr. Doktorski, I am a doctor, but music is my passion. I play also the violin, I think the piano type keyboard is one of the momentous inventions of mankind, it should not have been dispensed with in the left hand of the classical accordion.

Mário Luiz Bonoto
Brazil

REPLY:

Dear Mário,

Yes, such an instrument was built in 1931, but it became obsolete immediately, as it was practically impossible to play, for the reasons described below.

In Reference Book on Harmonicas (ca. 1960) by the Russian free-reed scholar Alfred Mirek, page 38, example 126, shows a picture of a double-right and left-hand-piano-keyboard accordion. The right hand encompasses 3 octaves; the left 2 ½. Mirek wrote:

PERMARIA'S ACCORDEON OF "ELECTIVE" SYSTEM. It was the French mechanic Piermaria Nazzareno (head of the factory simultaneously) who constructed and started producing this instrument. It was made for the polyphony repertoir [sic] performing. It was called "Pianolaccordeon." The number of the patent is 728-525 dated the 27th of February, 1931. Nowadays this instrument is called "The elective-system piano-accordeon with keyboards of the organ type." The idea of the same Kind was also fulfilled by the Italian mechanics in more modificated [sic] model. For example, Soprani-Lüttbeg made it in 1930-1931.

Wendy Morrison wrote in Pretty Complete Guide to Squeezeboxes (1999), page 46:

Soprani-Luttbeg: This is a piano accordion which also has a piano keyboard on the bass. It never caught on. I plucked the following out of dejanews.
"The problem with this instrument is a practical one. The left hand/arm is held down by the vbass strap, which makes it difficult, if not impossible, to play the left-side piano keyboard. There is not much room for the arm to supinate and pronate in order to allow for crossover of the fingers or thumb to run a scale. This system was a short lived experiment, but some of the few made, linger as oddities in accordion collections."

You should purchase an Indian harmonium. They are inexpensive, easily portable, have pleasing sound and the better models have several registers and up to six drones. The performer normally sits on the floor with the instrument in front of him and plays the notes with the right hand and pumps the bellows with the left. If you wish to play with both hands, have someone else pump the bellows for you.

The harmonium has a repertoire of hundreds of superb original classical pieces by great 19th-century composers such as Hector Berlioz, Georges Bizet, Camille Saint-Saëns, Eugène Gigout, Charles Gounod, Louis Vierne, Charles-Marie Widor, César Franck, Gioacchino Rossini, Bedrich Smetana, Leos Janácek, Anton Dvorak, Carl Maria von Weber, Carl Czerny, Giacomo Meyerbeer, Max Reger, Sigfrid Karg-Elert, Richard Strauss, Franz Liszt, Anton Bruckner, Gustav Mahler, and Josef Matthias Hauer. Hundreds of lesser-known composers also wrote for harmonium.

The accordion, on the other hand, had only Tchaikovsky and Umberto Giordano write for it in the 19th-century, and then it was not portrayed favorably. The concertina, however, had a fair number of compositions written for it by lesser-known British composers.

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Fri, 05 Jan 2001 18:46:08 -0200
From: luigi@annex.com.br
To: The Classical Free-Reed Subject: Re: Your letter

Thank you much, Dr. Doktorski. Surely you are wise in free-reed things. Your letter is most illuminating for me, for I will give up building such an instrument myself, out of old Stradella accordions.

Mário Luiz Bonoto

REPLY:

Dear Mário,

Thank you for your flattering words, but in my opinion, you err: I am neither a doctor, nor wise. You, on the contrary, are intelligent, for you chose a career which rewards you with a large income. I am simply a humble musician of modest means!     :-)

Please do not let my pontification deter you from attempting to build a double right-and-left-hand piano-accordion. At the least it might be an engaging hobby, and -- who knows? -- you might be ingenious enough to solve the problems which stumped Soprani-Lüttbeg in 1931!

Sincerely,

Henry Doktorski, founder
The Classical Free-Reed, Inc.

Date: Sat, 06 Jan 2001 17:48:46 -0200
From: luigi@annex.com.br
Subject: Re: Your letter

You are a Doctor of Knowledge, Mr. Doktorski. Forgive me the little pun on your name Where can I buy a treble and a bass Indian harmoniums?

Mário Luiz Bonoto

REPLY:

Dear Mário,

You live in Brazil? Find out the nearest Indian Hindu community and inquire at an Indian store or temple. They can tell you how to get one. I believe you can also purchase them online, but shipping costs might be prohibitive.

Henry

Date: Tue, 02 Jan 2001 18:21:52 -0800
From: gregvoz1@pacbell.net
Subject: New Review.

Please accept my review of the new CD by bandoneónist César Olguín and Cuarteto Latinoamericano for publication by The Classical Free-Reed, Inc.

I appreciate the opportunity to contribute to The Classical Free-Reed, Inc. Pat Missin (a friend in England) and I were just saying how important both The Classical Free-Reed, Inc. and the Center for the Study of Free-Reed Instruments at the City University of New York (and it's annual publication, the scholarly Free-Reed Journal) are to the overall health of the free-reed tribe.

Both Allan Atlas (founder and executive director of CFSFR) and Henry Doktorski (founder & webmaster for TCFR, Inc.) deserve kudos for their respective ideas and bringing them to fruition.

Yours,

Gregory A. Vozar
Reseda, California

For letters prior to January 2001, see:

Readers' Letters: 2000
Readers' Letters: 1999
Readers' Letters: 1997 & 1998

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