Galla-Rini Plays His Concerto With Denver Symphony
This article, presumably by editor John Gerstner, was reprinted in its entirety from the
November 1947 issue (page 8) of Accordion World (New York). 
An event of great importance to accordion enthusiasts occurred in Denver,
August 19, when Anthony Galla-Rini appeared as a guest soloist with the
Denver Symphony Orchestra under the direction of Saul Caston in the Summer
Series. He performed his own Concerto No. 1 in G Minor. It was the first
opportunity for music lovers in the Rocky Mountain region to hear an
accordion with a symphony, and it was the second performance of the
Galla-Rini concerto. The first performance was in 1941 in Oklahoma. Mr.
Galla-Rini showed himself not only as a great master of the accordion but
as a composer of equal genius to any living today.
The first movement, the Allegro Con Passione, is in Sonata form and
features intricate tempo changes. The perfect coordination between
orchestra and soloist was achieved in the Denver Concerto. Mr.
Galla-Rini's virtuosity was displayed in the Cadenza which consisted of a
recapitulation of the various themes of the first movement. The execution
of the tremolo in the Cadenza was remarkable.
The second movement, the Largo, is very melodic, taking the full advantage
of the many tonal effects possible on the accordion. This movement
consists of three themes interwoven so that the first theme predominates.
The third movement, Saltarello, allegro vivace is in dance form the same
meter as the Tarantella only faster. Included in the movement is a
changing tempo, Meno which is several shades slower and offers a great
contrast to the first part. From the Meno a very interesting four part
fugue is developed marked fuga a tempo. The first voice is played by the
accordion, the second voice by clarinet and flutes, the third by the
second violins, and the fourth by the first violins. This is worked into
a recapitulation of the first theme and then into a brilliant finale.
The orchestra under Mr. Caston's direction read the concerto well and it
was enthusiastically received by a capacity audience. Mr. Galla-Rini
responded to the insistent applause by playing Andalucia by Lecuona. It
was a revelation for most of those present to hear the varied tonal
effects possible with Mr. Galla-Rini's Dallape accordion. He has fifteen
switches in the right hand and six in the bass which he used to the
greatest advantage.
Every one who is connected with the accordion should be proud and happy
that a man as great as Galla-Rini is doing so much to improve it. It is
to be hoped that through future concerts of this type, the accordion will
be a recognized part of the modern orchestra.
This article, presumably by editor John Gerstner, was reprinted in its entirety from the February 1948 issue (page 4) of Accordion World (New York).
As event of considerable importance in the accordion field will be that of
March 6th when Gala-Rini will play his concerto with the Detroit Symphony
Orchestra. This will be one of the very few times that an accordion
artist has appeared with a MAJOR symphony orchestra as assisting artist.
Gala-Rind's Concerto in G Minor is very pleasing to the listener, and
shows the versatility of the accordion to the utmost. The orchestral
accompaniment is by the entire stringed sections, woodwinds and percussion
which blends beautifully with the tonalities of the accordion. The
concerto is written in the conventional three movements; the first
movement is the Allegro, Moderato Con Passion; the second is the Largo and
the third is the Allegro Vivace (Movement Di Saltarello.) It requires
twenty five minutes to play the concerto.
This concerto is being sponsored by the Detroit Conservatory of Music
through the efforts of their faculty member, Lari Holzhauer, and Secy. of
A. T. G. The Detroit Conservatory has taken much interest in the
accordion and its progress, and has been the first accredited music school
in the country to recognize the accordion as a major instruments and issue
diplomas upon completion of the required studies, which compare with those
of the piano.
Galla-Rini may well be called one of the finest exponents of the accordion
and has justly earned the title of "The Worlds Foremost Concert
Accordionist." He has done much pioneering in our field and through his
artistry, concerts, transcriptions, arrangement and compositions, has been
an important factor in the rapid progress we have made in the musical
field.
He was born in Hartford, Conn and came from a musical family. His father
was a well known musician and band master. At the age of six Galla-Rini
began his studies and when but fourteen years of age was a proficient
performer. He mastered more than twenty instruments, was a thorough
student of theory, harmony, counterpoint, arranging, orchestration and
composing, and is familiar with all of the instruments of the symphony
orchestra. Therefore he was well qualified to write the concerto which he
will perform with the Detroit Symphony.
From all of the instruments which he studied, the accordion always
remained his favorite and he choose this instrument as his medium of
musical expression. In 1939 he began his concert tours and has given
concerts throughout the United States and Canada, usually making one or
two tours a year, except during the war. In 1942 he choose Los Angeles as
his permanent residence and when not on tour, he maintains a heavy
teaching schedule, drawing students from all parts of the country. He is
also under contract to several major movie companies, and is many times
heard in the music of the pictures, some of which are "The Razor's Edge",
"Rhapsody in Blue", "My Darling Clementine", "Mrs. Skeffington." He also
appeared personally in several pictures.
His composition, arrangements and transcriptions are published by more
than thirty publishing companies and he has recorded for several
companies. His most recent recordings were made in December by the Tempo
Co., noted for their excellent recordings of unusual music. In these
recordings a well known harpist was used for background. As yet these
recordings have not been released.
Galla-Rini married Dina Petromilli, who is the daughter of the late owner
and maker of the well known Guerinni accordions, in San Francisco. They
have one son, Ronald, who is eleven years of age, At present the
Galla-Rini's are much engrossed in the building of a lovely new home in
Los Angeles.
Galla-Rini's Detroit appearance will be followed by a concert in Toledo,
March 14th which is being sponsored by the Trick Bros. Accordion
Institute, and on March 16th he will play in Hamilton, Ontario, for the
Waddington Musical Enterprises.
EDITORIAL NOTE: Teachers and accordion enthusiasts who are sufficiently
interested and ambitious enough to demand Galla-Rini's appearance with
their local symphonies, are urged to write this magazine for material and
data with which to fortify their demands. We are all out in co-operating
for the boost this event would give our instrument among your local
serious music lovers, and its attendant expansion of the accordion
activities in and from your studios.
This article, presumably by editor John Gerstner, was reprinted in its entirety from the March 1948 issue (page 8) of Accordion World (New York).
Before a jam-packed-full audience of music lovers despite
rain and sleet on March 6, the Detroit Symphony, with Galla-Rini as guest
artist played his concerto with full orchestral accompaniment.
Not only is Galla-Rini to be hailed as an outstanding concert artist with
our instrument, but as a composer he has given the world an addition to
the "music of the immortals" . . . But don't take our word for it. We give
you the opinion of J. Dorsey Callaghan, Music Critic for the "Detroit Free
Press," who wrote:
. . . The Concerto, employing an instrument that heretofore has had but
little recognition outside its own group of enthusiasts, was written and
performed by Anthony Galla-Rini. Galla-Rini's composition is a completely
sincere effort in the direction of rasing the accordion to the status of a
symphonic instrument. It is in the conventional three movements, each with
a highly melodic content.
The finale was an excellently well thought out section, with lilting airs
of a distinctly Neapolitan cast. The orchestral parts lay to some degree
in the classical mold, using strings and winds. The powerful voice of the
solo instrument tended to dominate in ensemble with the orchestra. . .
Galla-Rini is an admitted master of the accordion. The instrument, in his
hands, brought forth a color range that was amazingly full. . .
The Detroit Symphony Orchestra, directed by Walter Poole, took a step away
from the accepted routines of "Pops" concerts in its performance Saturday
night at Music Hall. Besides the familiar and well-loved works that go to
make up so-called popular music fare, Poole presented the first Detroit
concert performance of a concerto for accordion and orchestra.
This article, presumably by the editor John Gerstner, was reprinted in its entirety from the March 1948 issue (page 14 and 15) of Accordion World (New York).
Orchestra was planning and rehearsing for their strenuous
southern tour, only a half hour was allotted for the rehearsal for
Galla-Rini's concerto. The Symphony men later said the concerto music was
the toughest that had been put up before them for a long time. At the
conclusion of the first movement during the rehearsal, the entire
orchestra applauded Galla-Rini and gave him a big hand when they finished
the rehearsal. Walter Poole, the assistant conductor, who is very popular
in Detroit, handled the rehearsal as he also did the concert. Dr. Karl
Krueger, the conductor, was present during most of the rehearsal and later
met Galla-Rini and complimented him on his fine work -- both in playing
and composing. He seemed quite impressed and Holzhauer told him she hoped
he would consider using the accordion sometime on the regular Symphony
programs. He said "I do not know why we shouldn't -- we have had the
harmonica, and the accordion certainly can give a lot. The trouble is --
we are all bound to much by tradition." They were especially glad that
Galla-Rini did not use a "Mike."
THE CONCERT. -- Galla-Rini was given an ovation as he appeared on the
stage, also great applause greeted each movement of the concerto (which of
course was out of order) and a tremendous ovation was accorded to him at
the end of the concerto. He did four encores and the audience clamored for
more but as there is a time limit on the concerts, there was no more time
for encores. As much of the audience were accordion enthusiasts, many had
never before heard a symphony orchestra, but the orchestra was received
with much enthusiasm and their program was pleasing to the listeners.
Walter Poole was required to take many bows at the end of the program and
much applause was given to Galla-Rini at the finish of the program.
Many guests were from out of town and numbered among them were, Oakley and
Melba Yale and their partner, Mr. Mack, from Buffalo. Jean Gestwick,
Buffalo. Walter Grabowski and a party of eleven from New Kensington,
Penna. A large aggregation came up from Toledo and other guests from
points in Ohio. Mrs. Dan Petromilli and son Anthony, Chicago. Irene
Barnes, Atlanta, Ga.
Following the concert many teachers and friends sojourned to one of the
parlors at the Hotel Detroiter and visited until the wee hours. Sunday,
some of the guests who stayed over, plus many Detroit teachers and friends
had a dinner at Hucks Redford Inn with the Galla-Rinis as guests of honor.
The repercussion of the concert has all been fine. The symphony men all
seemed much impressed and it was amusing to watch them as Galla-Rini was
playing his encores. They all had their eyes glued to him and were trying
to watch his every move. They later said their opinion of the accordion
had been considerably changed. Comments of other musicians and teachers
there were all good. Teachers from the Conservatory thought is [sic] was
wonderful. Many thought certain numbers sounded much better on the
accordion than on the piano. Others compared the concerto with
Rachmaninoff, Berlioz and others and they were particularly impressed by
the melodic lines.
Galla-Rini was in top form and did a super job on the concerto. The
orchestra didn't even have to tune to the accordion which blended
beautifully with the other instruments. The accordion plainly dominated
the music and there was just one spot where the orchestra, just for a
brief moment, overpowered the accordion.
We believe that this particular performance will mean a lot to the future
of the accordion and we hope its results will be wide spread.
Galla-Rini played a solo recital in Toledo, Ohio March 14 in the afternoon. The place was the ballroom of the Hotel Commodore Perry. The concert was sponsored by the Parent-Teacher Organization of the Trick Bros. Accordion Institute. A fine audience was on hand and Galla-Rini played an excellently balanced program and favored with many encores. A large group of teachers and friends from Detroit were present, as were teachers from other towns. Following the concert Mr. And Mrs. Al Trick gave a reception at their lovely new home for the Galla-Rini's and many out of town and local guests.
March 16th Galla-Rini presented a concert for the Waddington Musical enterprises of Hamilton, Ontario. A spellbound audience greeted him. This was his first concert in Hamilton, and his first appearance in eastern Canada for many years. Many were in attendance from Toronto.
The Classical Free-Reed, Inc. staff gratefully
acknowledges volunteer Patrick Kiley, who assisted in the
production of this article, as well as Stanley Darrow and his
comprehensive American Accordion Musicological Society library.
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