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Deiro - Accordeonist, 13 mins. One Fifth Ave
Deiro will have no trouble in holding his own amongst the several accordeon players now in the varieties. The man plays what seems to be a little different arrangement than the usual. It has a keyboard similar to that of a piano. His manipulation is interesting together with the playing. Deiro has shown rare judgment in his picking of selections. Instead of sticking to the heavys [sic] or the grand opera he opens with a solid number, devoting the rest of the time to "rag" with which he does a few gyrations a la Travato. It gets him more than all the "classical stuff" could. Placed "No. 4" on the program he drew down a solid hit that came from all parts of the house. -- Dash,
Guido Deiro Scrapbook No. 1, page 3.
Baltimore Courier - January 14, 1911
Deiro, a Musician Features at the Maryland
The best number on the bill at the Maryland this week is Deiro, a
premier piano accordionist. The music that he gets out of this Italian
instrument is beautiful, and he had the audiences yesterday afternoon
and last night applauding him from the time he began his first selection
until the very last. They were not even satisfied with this, for they
wanted more, and the musician played until he was tired. He played not
only some classics, but rendered ragtime and popular airs.
Variety - March 15, 1911
Held For Assault
San Francisco:
Guido Deiro, an accordeon player, booked to open on the Orpheum Circuit,
March 20, was arrested here last week on a charge of assaulting Rafaela
Zatarain, a pretty Mexican girl of this city. Deiro came from New York a
few weeks ago to purchase a new acordeon. Shortly after his arrival he
was taken ill and removed to Hahneman Hospital. Upon leaving that
institution he was immediately placed under arrest. Judge Shortall
placed his bail at $3000.00. Deiro furnished bail. After a hearing lasting five hours
Deiro was discharged by Judge Hall. He left for the East, to open at
Wilkes-Barre next week.
Pittsburgh Post - May 11, 1911
Plays Unique Instrument.
Beyond question the most remarkable musician that Pittsburghers have
listened to this season is Guido Deiro, the Italian maestro, who is
giving his first performances in the vaudeville show at the Grand this
week. Signor Deiro is playing what he is pleased to call a piano
accordeon. It is a device of his own construction, combining not only
the tonal qualities of the piano and the accordeon, but five distinct
instruments; namely, the first violin, the flute, the cello, the bass
and the piano accompaniment in addition to it's accordeon qualities. It
looks like a huge, old fashioned glorified accordeon. With the right
hand the musician plays the melody on a miniature piano keyboard and with
the left the second part, a combination of instruments which sings the
accompaniment. This part of the instrument, in it's construction, is a
secret possessed only by Deiro and for fear of imitation he declines to
describe the method of it's construction. In the hands of the master it
is a wonderful instrument capable of playing the most involved
symphonies and at the same time the simplest of harmonies.
News Clipping - ca. 1911
DEIRO . . . ON UNUSUAL BILL
There's an unusual combination of acts on the Poli bill. As an applause getter Deiro with his accordion with a college education got away with the most applause. . . Deiro certainly won the audience at the opening performance. He plays an exaggerated accordion most acceptably and has a fine assortment of selections. Deiro's way of throwing himself into the music and playing with hands, eyes and feet adds finish to the act.
Guido Deiro Scrapbook No. 1, page 3
News Clipping - ca. 1911
DEIRO, Musical Genius at Lyric Theater.
One of the most unusual and pleasing acts in vaudeville this season is being presented at the Lyric this week by Deiro, an Italian musician who maneuvers a strange sort of accordeon, playing melodies all the way from Mozart to ragtime airs of the present, and playing them wonderfully well, too; so well that the audience keeps insisting on more until it would seem that his fingers would halt from exhaustion. No one would have believed that there could be so much music in a bellows decorated with stops.
Guido Deiro Scrapbook No. 1, page 3
News Clipping - ca. 1911, apparently from a city in the South
DEIRO SETS EVERY ONE TO CLAPPING
Orpheum Entertainer is Given Remarkable Ovation by His Hearers
The real hit with yesterday's audiences proved to be an Italian named Deiro, playing a piano accordeon. He received a remarkable ovation. He opened with the quartette from "Rigoletto," then swung into popular stuff, and, Heaven be praised, never once played "Poet and Peasant," thereby distinguishing himself from every other accordeon or xylophone player who has been here in the last twenty-one years.
He Makes Great Enthusiasm
He has an exquisite sense of time and of rhythm, and this fact, with an expressive smile and an exact knowledge of what his public wants, are the secrets of his unusual quality as an entertainer. He galvanized a lot of apathetic auditors into wakeful hilarity as soon as he came on, and when he played America's real nation anthem, "Dixie," the roof was raised several inches.
Guido Deiro Scrapbook No. 1, page 4
News Clipping - ca. 1911
Squeezes Harmonies Cleverly
A glorious surprise to many who regard the accordion as an instrument of torture held over from the Spanish inquisition and fandango was the spry playing on the "piano accordion" of one briefly named Deiro. From his abysmal oblong of pleats Mr. Diero [sic] squeezes harmonies that are, believe me, worthier of a better source. But never and notwithstanding, some strong stage manager ought to unpaint Mr. Deiro's satisfied face. It's all right for him to be satisfied, but in the good name of Madame Yale let his be satisfied in nature's hues. That complexion looks like an eruption of his native Vesuvius.
Guido Deiro Scrapbook No. 1, page 4
News Clipping - ca. 1911
Diero [sic] gives to the accordion the sonorousness of the organ and at the same time the exquisiteness and subtlences of the violin. He is a master of his instrument. The more select of his pieces are forgotten by Orpheum audiences when he swings into "Dill Pickles" and other syncopated roundelays. This sort sets the upper part of the house gleefully enthusiastic.
Guido Deiro Scrapbook No. 1, page 5
Des Moines News Clipping - ca. 1911
GUIDO DEIRO ONCE A STREET MUSICIAN
He Maintains His Native Country Has Many Undiscovered Artists.
PLAYING AT ORPHEUM
Italian Has Gained Much Note With His Piano Accordeon.
Italy is the land of wasted genius. Also the land of undiscovered artists. Attest -- Guido Deiro, master of the piano accordeon. Orpheum theater, Des Moines, for one week.
Thus quoth he of the genial smile and daring eye, who is entertaining in admirable manner, last night just before he went on to renwer [sic] "Alexander's Ragtime Band" and various other "classics," and to set the audience to wondering just how he gets so much music out of that strange instrument, so melodious and yet so uncommon.
To illustrate, Guido Deiro was not long ago just one of the many street musicians in his home town, Torreon, Italy, although accounted the best among his fellows. But in those days he did not allow his mind to soar to the heights of even imagined glory or to the time when he would evoke cheer after cheer from the American audience. He was only a street musician at night, in the day one of the clerks in his father's mercantile establishment.
Now, as his card implies, he might be called the master of the piano accordeon; at least, he is in America. He has played from coast to coast and has the only act of its kind on the Orpheum circuit.
How He Broke Into Game.
But as to how he broke into the theatrical game. The story is not a long one.
On gaining his majority, Deiro became associated with a firm which manufactured musical instruments, chief among which were the piano accordeons. In the employ of this concern he traveled well over Europe -- so well that he learned to speak both the French and German languages -- demonstrating and selling his wares to such an advantage that he was sent to Seattle, Wash., two years ago to attend the Alaskan exposition. Then to San Francisco went he, to exploit his goods and incidentally to become acquainted with one of the Orpheum managers, who liked his playing. Then came the contract.
But at various times he has been seen at many other places, including the Majestic in Chicago and Hammerstein's in New York.
Deiro is a very modest chap, [indecipherable] his apparent inclination to fliet [sic] when [indecipherable] is rendering those popular airs of [indecipherable] But he does not like to blink and [indecipherable] not a bit. It is just one of the requirements of the stage. He admits it took him some time to learn the art of appearing the most cheerful person, but now it is sort of natural.
Played for Victrola Firm.
Among the other acknowledgments of his musical ability, is that accorded him by the Victoria company. Have you ever heard any of the records produced by him and his piano accordeon? Well, he is among the number of artists to have been solicited by the above mentioned firm, and alone in his particular line.
And by the size of the music box he uses so artistically one would not guess that it costs more than an ordinary piano. Deiro has three such instruments in his trunks and he estimates his wealth in this instance to be about $2,200. Two were made in San Francisco and one by the company in Italy, which he formerly represented.
But back to Italy. Deiro insists there are many of his fellow countrymen as good as he. All they lack is the chance to break into the world. He did not realize his greatness until it was thrust upon him. He maintains he did not achieve it.
Guido Deiro Scrapbook No. 1, page 5
News Clipping - May 16, 1911
Maybe you won't believe it, but 'tis a fact, that a clean-cut young fellow who plays a rather complicated accordion, made the biggest hit of the show at Shea's last night. Lots of fun has for years been poked at the humble accordion, but after one hears this lad Deiro at Shea's one has quite a bit of respect for the time-honored instrument, and it is really worth while to hear the young fellow play, ragtime and all.
Guido Deiro Scrapbook No. 1, page 5
News Clipping - ca. 1911
DRAWS APPLAUSE WITH ACCORDION
Deiro a Unique Feature of Good Vaudeville Bill at Maryland
Deiro does not occupy one of the big spacings on the Maryland Theater's billing this week, but Deiro is truly one of the features of the bill. Deiro is an accordionist, with a bump of humor and a large stock of grace. Sounds funny when graces and humor are coupled with a player of that much-abused instrument -- the friend of the beggar and the old negro -- the accordion, but when Deiro's deft fingers start across the keys of his instrument, the audience takes notice. A second later they are his, and, like Bill Simmons, they just can't keep still as he sways from opera to ragtime. Applause that lasted fully three minutes followed Deiro's last encore.
Guido Deiro Scrapbook No. 1, page 6
News Clipping - ca. 1911
With the exception of Diero, [sic] the "piano-accordion" player, who established himself as a favorite here last season, the remainder of the bill this week has only occasional fleeting flashes of merit. Diero, after one of his instruments failed him at a critical moment yesterday afternoon, quickly procured another form his dressing room, and scored a triumph even greater than that of last season. The "piano-accordion" combines the qualities of the two instruments named, and Diero not only knows how to get music from it, but he is enough of an actor to make the music count.
Guido Deiro Scrapbook No. 1, page 6
Hammerstein's Track - ca. 1912
Deiro was scratched last week. He started in again today, and set a pace that landed the Hammersteiners comfortably in their seats the moment he approached the grand-stand. "Deiro," they shouted, "Deiro," they screamed, and at the end he was placed in a floral horseshoe and carried around the track by his able, magnetic manager, Max Hart. Deiro has his hair marceled to the Queen's taste.
Guido Deiro Scrapbook No. 1, page 7
News Clipping - ca. 1912
DEIRO MAKES RECORDS.
Besides the One at Poli's This Week, He Also Hands His Work Down to Posterity
Deiro, the marvelous musician at Poli's this week, who handles that mysterious instrument, the piano-accordion, is making a record for himself both as a very creditable feature number of this week's bill at this playhouse as well as making "records" for the Columbia Phonograph company, by which the sweet strains of his delightful music may also be enjoyed forever.
Deiro, who studied a system of combining certain elements in a musical line to secure an instrument which would give forth the sweet strains to which delighted patrons have been listening this week, conceived the idea of the unique instrument while studying in Italy.
He worked on the affair which he now has perfected for years, until one day it was in such shape that it became an instrument of value. Flushed with the idea of presenting his work to the public, Deiro appeared in some obscure music halls and made an instantaneous hit. Patrons of the places were completely taken away with the delightful offerings and Deiro became the rage to such an extent that he was at once sought out for an American tour.
When Deiro arrived in this country he had to secure some one to make a new instrument and imparted the system to a man in San Francisco who has since made the instruments. Recently one of the instruments became out of order and Deiro had to make a special trip across the country to secure a new one. He lost two weeks' engagement by so doing but his faith in the western maker is such that he will impart the secret to no other.
Those who have enjoyed Deiro this week realize the musical treat the man imparts and those who haven't as yet heard him are missing a great bit treat.
Guido Deiro Scrapbook No. 1, page 7
Washington Post - April 2, 1912
Diero [sic] renders a number of selections excellently upon a "piano accordion," a novel instrument. His act was one of the big hits of the bill yesterday.
Guido Deiro Scrapbook No. 1, page 9
Washington Herald - April 2, 1912
Deiro, who is billed as the world's premier artist on the piano-accordeon, has a wide range of harmony, which got the applause.
Guido Deiro Scrapbook No. 1, page 9
Washington Times - April 2, 1912
Deiro, with a piano-accordion, furnishes an excellent repertoire ranging from the classical to ragtime, the latter, of course, getting the applause.
Guido Deiro Scrapbook No. 1, page 9
Trenton Evening Times - April 9, 1912
Notwithstanding all that has been said about accordion players who have appeared at the Trent during the past couple of years, there is a fellow on the bill this week who is the superior of them all. Deiro is an artist, and he displays his complete master of his instrument in the rendition of a program of classical and popular melodies.
Guido Deiro Scrapbook No. 1, page 9
Trenton True American - April 9, 1912
Of all the accordeon players the Trent has presented here Diero [sic] stands out at the head of them all. This chap shows a complete mastery of his instrument and was given encore after encore.
Guido Deiro Scrapbook No. 1, page 9
Buffalo Courier - April 16, 1912
The great hit of the bill was "Deiro," who plays upon an instrument known as the piano accordeon. The instrument is really a mammoth accordeon, with a keyboard like a piano. Its volume is immense, swelling to the proportions of a grand church organ; its melody is delightful. "Deiro" played all sorts of music, classical and popular. The sweet notes of the instrument are most agreeable to the ear. The player's command of the keyboard and stops is really wonderful. His encores were numerous and most enthusiastic.
Guido Deiro Scrapbook No. 1, page 9
Buffalo Evening Times - April 16, 1912
Deiro is a hit on the bill. He has a novel act, in which he performs on an instrument known as the piano-accordeon. The instrument is a mammoth accordeon with keys like a piano. The effect is that of organ music, with swelling diapasons. Deiro has a wonderful command of the keys.
Guido Deiro Scrapbook No. 1, page 9
Buffalo News - April 16, 1912
With an accordeon that swells at times to the volume of a church organ Deiro makes music of a sweet and expressive variety and his turn proves a great favorite.
Guido Deiro Scrapbook No. 1, page 9
News Clipping - ca. June 1912
Deiro, the piano accordionist, is one of the biggest hits on the bill. This musical genius has a great way of bringing forth melody from his mammoth instrument, which in sound and tone is utterly unlike the strains usually heard from an accordion. However, Deiro does not use an accordion of ordinary proportions. His is an exceptionally large instrument, and known as a piano-accordion. It is the largest instrument of its kind ever introduced on any stage. Deiro wore a new white suit, cut in evening dress style. We presume he wears this for the evening performances only. It certainly is very becoming.
Guido Deiro Scrapbook No. 1, page 11
News Clipping - ca. June 1912
Deiro Improves on Act. -- Deiro, the Paderewski of the Barnum accordion, is up at the Bronx this week, and his performance shows so much improvement over his original appearance in this city that it is evident he is bent all the time on making his act more entertaining. He has succeeded so well in this effort that he now ranks among the real comedy musicians of vaudeville, while at the same time retaining the musicianly ability which first attracted favorable attention. Deiro is the best of his kind by a very long shot.
Guido Deiro Scrapbook No. 1, page 11
News Clipping - ca. 1912
Deiro wields a wonderful power when armed with the piano accordeon. He plays airs from grand operas, bits of love songs and swinging rag music, and with a skill that carries the mood of the audience with him.
Guido Deiro Scrapbook No. 1, page 12
News Clipping - ca. 1912
Deiro Says That In Italy Talent Hides Under Bushel
That Italy is a land of wasted genius and a land of undiscovered artists is the opinion of Guido Diero, [sic] master of the piano-accordeon at the Orpheum this week. Deiro not long ago was a street musician at Torreon. He made music at night and clerked in his father's store by day.
At the age of 21 Deiro became associated with a firm as an agent. Demonstrating his wares so well he was sent to the Alaskan exposition at Seattle in the company's interests. Then he went to San Francisco. There he signed an Orpheum contract. Deiro says many other Italians can play as well as he, but they lack the chance to break into the limelight.
Guido Deiro Scrapbook No. 1, page 13
News Clipping - ca. 1912
Diero [sic] Proves Himself a Genius by Producing Harmony With an Accordion
Diero [sic] is sufficiently talented to arouse delight with that most hopeless of all alleged musical instruments, the accordion. Any man who can hold his audience almost half an hour with an accordion has an ability that would produce results in a musical line.
Guido Deiro Scrapbook No. 1, page 13
News Clipping - ca. 1912
Deiro, with a mastery of the accordeon that is almost uncanny, and a smile that eclipses the footlights, successfully holds down the main spot in a good bill at the Orpheum this week. Deiro's instrument is a combination of a piano keyboard with an accordeon, and with it he can secure effects ranging from a plaintive lullaby to a brass band in full blast.
Guido Deiro Scrapbook No. 1, page 13
News Clipping - ca. 1912
That Warming, Vivid, Sunny Smile; Deiro and His Accordion Banish Care
By the Matinee Girl.
Smiles have made men famous. There's President Taft with his genial smile. An unmentionable prize fighter won much conspicuosity with his "golden smile." But there's a man at the Orpheum has them all beaten when it comes to smiles. It's Deiro with his magnetic, sunny, warming, vivid smile.
As I descended the stairs leading to the region where the actors don their make-up, the lilting music of "Moonlight Bay" came up to meet me. One corner of the orchestra room was brightly illuminated. Oh, no, it was not the electric lights that made it so bright. It was Deiro's smile. With the members of the orchestra grouped about him he stood with his chin uptilted, a happy smile on his face, playing "Moonlight Bay" on his accordion.
"Playing" is a very inadequate word to apply, too, to the rippling, lilting, dancing syncopation which which [sic] Deiro coaxes from his accordion. And "accordion" is a very inadequate word to describe his wonderful instrument, too. Those accordions are regular pets of Deiro's. When traveling he always reserves an entire section. The lower berth is for Deiro. In the upper the accordions are put to bed. He won't trust them to the baggage car.
"Moonlight Bay" broke off short and Deiro came out hugging the accordion under one arm, the other hand extended in greeting. Two things I was dying to know. Where did Deiro get that wonderful way of playing and where did he get that smile?
I ventured the first question. "Oh, I just picked it up," said Deiro. "I would rather play the accordion than eat. See, like this!" Out flashed the care-banishing smile. He whipped the accordion to his shoulder and I was being treated to a little concert all my own.
"And where," I said, when had finished, "did you get your smile?" Then Deiro smiled in earnest. He laughed heartily. "Oh, that," he said. "I was born with that. I smile when I feel the music. It makes me glad."
So now when your feet are twitching to the music of Deiro's accordion and you feel the warming happiness of his smile you will know that he is "feeling the music" and that he is glad.
Guido Deiro Scrapbook No. 1, page 14
News Clipping - ca. 1912
DEIRO SCORES
Deiro, the accordeon player, scores one of the biggest hits of the show. He is certainly a master of this queer instrument.
Guido Deiro Scrapbook No. 1, page 14
Springfield Union - January 7, 1913
Diero, [sic] who is billed as the headliner, certainly had the audience with him. He has invented what he terms a piano-accordion, which is unique and novel as an instrument, something in the nature of a mammoth accordion with a piano keyboard. Naturally Diero [sic] is an expert manipulator of the instrument. He is versatile and talented and his selections range from the operatic to the most popular ragtime ditties. The audience was generous of applause and the good-natured mannerisms of the soloist added to the popularity of the act.
Guido Deiro Scrapbook No. 1, page 15
News Clipping - ca. 1913
Deiro is advancing. With his piano accordion he gave us real good music last night. He played Mozart and Puccini and his own compositions and played them all well. He has fire and feeling and tempo, and, in short, he's an artist. His bits of "rag" and lively dashes were very welcome after the heavier numbers and showed his versatility.
His left hand work was really wonderful, for he has a keyboard like a piano for the right hand and his left must find those tiny pegs and manipulate the bellows of the accordion at the same time.
Guido Deiro Scrapbook No. 1, page 17
Tribune-Republican - April 29, 1913
Diero [sic] won an ovation after each number on the piano accordeon, the strange musical instrument which he originated. He was kept out in front until he grew finger weary from manipulating the keys. Diero is one of the best stars of vaudeville, and his hit at the opening performance was tremendous.
Guido Deiro Scrapbook No. 1, page 22
The Scranton Times - April 29, 1913
Diero [sic] was an even bigger success than in a previous season. His playing of the piano accordeon won him tumultuous applause after each number. Along with being a skilled player on the peculiar instrument, Diero also has a strong personality which helps him out much.
Guido Deiro Scrapbook No. 1, page 22
Variety - July 11, 1913
Instrumental 8 mins. Hammerstein's
Isn't it strange how one's individuality can be sunk when merged into a
double turn? There's Deiro, regarded as the greatest of all piano
accordionists shown around here. He doubles up with his brother Pietro,
and all his personal magnetism is lost and his playing seems to partake
very much of mechanics. The only effect of the two playing at the same
time was to increase the volume, not at all necessary. The men emerged
in white flannels and seated themselves, first placing towels on their
laps to protect their clothing. This in itself was enough to call
attention to the machinery of their act. They started off with a
classical number, then an old Sousa March, stood up and rendered one
popular melody, retiring without trying for an encore. Deiro appeared to
be weary. He didn't seem to be trying Monday night. "Jolo."
Editor's note: Travato was a dramatic solo violinist.
