Date: Thu, 30 Dec 1999 23:20:48 +0800
From: angelina@public3.bta.net.cn
Subject: news
Dear Henry
Greetings from China! I am a professional concert accordionist in the China Broadcasting Art Troupe in Beijing. From the internet, I know lot of information about you and The Classical Free-Reed, Inc. Congratulations for your fine efforts!
In fact, I have received a manuscript copy of your book: The Classical Squeezebox, from a friend in Switzerland last year and I read it with particular interest. I acquired a big collection of accordion recordings since 1983 (CDs, cassette tapes, LPs). In 1989, when I attended the international accordion seminar in Bialystok, Poland, Prof. Mogens Ellegaard sent me his CD: "Contemporary Danish Accordion Music". From this CD, I very much like Steen Pade's: "Excursion with Detours" (1984).
Some day ago, I received a CD-R of Mogens' old recording (1969): "Frosini. Herrmann. Pihlajama. Volpi. Cavez. Fugazza. Creston. Schmidt......" It is very interesting for me! Have you received my new cassette tape: "Scarlatti Keyboard Sonatas" which I sent you some days ago? Please let me know.
I also recorded a CD (Russian music with Chinese music). I hope you can sell it in your Online Gift Store. If possible, please let me know! Hoping to hear from you soon
Yours Sincerely
Guoping Zhang
REPLY:
Dear Guoping,
Thank you for your kind words about our humble site; truly it has been a great labor of love to create and maintain by all our dedicated staff. Thank you also for your appreciation of my book; which should be officially published this year -- I hope! You actually have seen only a manuscript copy.
Yes, I received your cassette and I was delighted to hear it; you are a superb musician and I'm sure Mr. Scarlatti (if he were still alive today) would enjoy hearing your performances of his sonatas! I have already mentioned it in our News Bulletins. I have also taken the liberty of adding your name to our International Directory of Free-Reed Performers.
We will be happy to offer your CD for sale in our Online Gift Store. Please send a copy to our Free-Reed Review editor, Mr. Thomas Fabinski. His address can be found at Invitation to Contributors / Submission Guidelines and he will arrange for one of our staff to write a review. According to our policy, only then can we offer it for sale.
Ah yes! Professor Mogens Ellegaard; truly one of the world's greatest accordionists. I enjoy his CD very much. I agree, Steen Pade is a wonderful composer. I am interested in hearing his 1969 recording. Please tell me where it can be ordered.
Perhaps you can help me, Guoping. I am adding another chapter to my book, The Classical Squeezebox, about the Asian free-reed instruments, and I am searching for 1) information about the sheng and 2) information about Chinese composers who have written original works for accordion. I would like to include in my soon-to-be-published book music excerpts of works for sheng and accordion by Chinese composers. Can you help me?
Great talking with you, Guoping, and I look forward to hearing from you.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Sat, 25 Dec 1999 22:26:28 +0100
From: robert.fiolka@gmx.de
To: doktorski@duq.edu
Subject: wishes from munich
I am in the 13th class on a grammar school in munich. I´m playing accordion for 11 years. I have got a Hohner Morino 6N. It has got a free-bass manual. So I can play Sonates of Scarlatti or also modern literature for free-bass.
I write an essay about the historical development of the free-bass. [In Germany we say Melodiebaß or Manual 3]. Perhaps you could help me to get more informations.[websites, books] I woud be very glad if you could help me. Thank you very much. I wish you a happy new year.
Your Robert
REPLY:
Dear Robert,
Good to hear from you and congratulations on your free-bass accordion studies!
I noticed you contacted me at my Duquesne University address. May I ask how you discovered me on the internet? from one of my websites perhaps?
Regarding your question, have you visited the website of The Classical Free-Reed, Inc.? The address is listed below. I think you will have much fun and reward exploring this site of over 300 pages devoted to the classical accordion. You will find articles on history and reviews of compact discs, including several by virtuoso Germans like Stefan Hussong, Werner Glutsch, Elsbeth Moser, etc. There is an excellent book on accordion by Walter Maurer in German. I wish my German was better so I could read this book! Also another book in German by the Russian bayanist Frederick Lips. Have you seen the Intermusik newspaper? I suggest you subscribe. The address is
IntermusikYou can order those books from Intermusik also.
Postfach 1609
D-59159 Kamen
I would like to read your essay. Will you please send it? If you translate into English I may be able to edit and publish on TCFR, Inc. website.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Sat, 25 Dec 1999 15:07:00 -0000
From: r.t.warner@worldnet.att.net
Subject: THE TANGO PROJECT
I have read references in several places regarding something called the "TANGO PROJECT." What was it? William Schimmel was supposed to be Involved.
Robert Warner
REPLY:
The Tango Project was the name of a group consisting of accordionist William Schimmel, pianist Michael Sahl and violinist Stan Kurtis. In 1982 they recorded a CD on Nonesuch titled "The Tango Project" which eventually sold something like one million copies. Two more albums were released on nonesuch and at least one more on the Newport Classic label.
For more info, you may contact Dr. Schimmel directly. His address and phone number are listed in our Performers Directory.
Date: Sun, 26 Dec 1999 02:41:33 -0500
From: domenic@ican.net
Subject: Your article on the beatles and free reeds rules!!!!
Dear Henry,
The article on The Beatles and the Free-Reed Instruments which you've published on your website could almost serve as the Genesis and/or the raison d'etre of the Accordion Beatles Page. I have known, but have not acknowledged the fact fully, nor the debt I owed you, until today. Let's call it a Christmas Miracle.
Anyways, I have a query; could you supply more info on accordions in orchestral music and as part of orchestras, and as a serious symphonic instrument, i.e. universities that offer accordion at the Master of Fine Arts in Music level, as well as orchestras that employ symphonic accordionists?
In future, may I refer to you as Henry "Hank" "Doc" Doktorski? It would be my privilege to feature your page on my website.
Yours truly,
Domenic"the Accordion Beatles guy" Amatucci
REPLY:
Domenic, thanks for the kind words. I still love the music of the Beatles, thirty years after I started playing accordion in an eighth grade rock band! Regarding your question, Most of everything I know about the orchestral accordion is online on The Classical Free-Reed, Inc. website. I wrote several articles of my experiences playing with symphony orchestras (look under The Free-Reed Journal) and many colleges which offer degrees in accordion are listed in our Colleges Directory. I do not believe any orchestras employ accordionists on a regular basis with the exception of the Russian folk-instrument orchestras.
And, yes, you may call me whatever you like!
Sincerely,
Henry
Date: Tue, 14 Dec
1999 20:21:13 EST
From: Krh214@aol.com
Subject: Kaen fingerings
I recently acquired a kaen, and am interested in locating fingerings on the web. Can you help me? Thanks.
Kimberly
Raleigh NC
REPLY:
I know of no such resource on the web, but I do know two experts of the instrument who may be able to assist you: Terry Miller: TMiller666@aol.com and Christopher Adler: adler@alum.mit.edu .
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Wed, 8 Dec 1999 16:06:48 -0800
From: invisual@gte.net
I enjoy The Classical Free-Reed, Inc. a lot, plus I think you've provided an invaluable service in support of important, deserving and under-recognized artists. The world has been poorly served by a lack of due respect to free-reed instruments. Humanity needs any and all sources of the spiritual power of music whispering to its soul.
Dr. Paul A. Magistretti
Date: Sat, 4 Dec 1999 00:46:08 +0100
From: J.P.Guiran@acmel.nl
Subject: Reviews
Hello people of The Classical Free-Reed, Inc.
Congratulations with your very good site. I didn't know about it, so it was quite a surprise, especially your fine review pages. I'm very interested to send one or more of my accordion CD's, so you can consider reviewing it. Please give me the mail address where I have to send it to. Thanks a lot
Jean-Pierre Guiran
Netherlands
REPLY:
Thank you for your kind words about our humble site. The information you requested can be found at Invitation to Contributors/Submission Guidelines.
Date: Tue, 23 Nov 1999 22:04:32 EST
From: Pbannon2@aol.com
Subject: music for english concertina
Hello: I'm interested in 19 cent. "classical" music written for english concertina. (For purchase)
REPLY:
I believe most of the 19th century repertoire for concertina is out of print, but I have seen several re-issues. Hohner of Germany has published a Molique concerto, if I am not mistaken. Victoria of Germany lists three compositions by B. Molique in their recent catalog: Alte Spielmusiken, Flying Leaves and Sonate op. 57. They can be reached at victorianoten@aol.com
In addition, I suggest you contact a few classical concertina players. Go to our International Directory of Classical Free-Reed Performers and do a text search for the world "concertina." I'm sure between all the performers listed, Allan Atlas, Wim Wakker, Douglas Rogers, Moshe Rubin, you can find someone who can assist you.
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Sun, 28 Nov 1999 05:24:54 -0800
From: Gregory A. Vozar -- gregvoz1@pacbell.net
Subject: Interview
Dear Tom,
Let me join the list of those congratulating you on the terrific interview of Peter Soave you did for The Classical Free-Reed, Inc. I read the entire thing over twice! Considering Peter's busy schedule, this was a real coup!
Thanks!
Greg Vozar
Date: Wed, 24 Nov 1999 08:56:11 +0100
From: aol@accordion-online.de
Subject: Peter Soave
Thanks for the great interview featuring Peter Soave. Great thoughts, great instrument (Bayan) and wonderful tenors. I would like to share a few personal opinions about the current orchestra scene.
I'm sure that the appearence of the three tenors alone made the concert worth listening to. But if I understood Peter Soave correctly, all of the accompanying musicians did not perform the concert for monetary profit -- after all it was a fundraiser, but mostly for social and cultural benefits; WITH THE EXCEPTION OF THE THREE TENORS!
Of course lonely free-reed players - even the best ones - lost in an orchestra cannot be far away from being like a fart in a blizzard. * In this case (in my humble opinion) all of the orchestra members got lost in 3 blizzards. It leaves a foul odour in my nose.
* The Dutch composer, Chiel Meijering, wrote a piece called "A Fart in a Blizzard" for accordion and violoncello, published in 1996 by Donemus, Amsterdam. Naturally, the accordion played the part of the fart.
Martin Weyde
Hamburg, Germany
Date: Mon, 29 Nov 1999 10:17:51 -0500
From: FabinskT@tacom.army.mil
Subject: interview
I'm nearly certain that all of the musicians performed for profit. The Musician's Union wouldn't have it any other way. I'm certain that the Union would not allow the musicians to donate their fees unless they chose to do so after the performance. The problem is that the tenors realized much more profit than the rank and file musicians. All other guilds and unions have apprentices and journeyman. But there doesn't exist such an outrageous pay differential between the highest and lowest paid journeymen in these other unions (such as electricians or plumbers.)
Date: Fri, 12 Nov 1999 03:12:59 -0100
From: llittera@idecnet.com
I am very happy to read your review of my compact disc, Gianluca Littera Plays the Villa-Lobos Harmonica Concerto, and for your appreciation for my recording. Yes, as you said, it's very important, to have at least one harmonica recording packaged together with recordings of other instruments in the same CD and at the same artistic level with clarinet and harp. This is very good for our instrument, the harmonica.
At the moment it's a bit difficult to make a living only by playing classical harmonica, as there is not much demand or money for it. Fortunately, I now have a manager for the last two months in Roma (very very good and important manager) and I hope the best for the future engagements of course.
In any case I am very happy to work as a violist with orchestra; this is the better way to getting touch with a lots of music directors. Sometimes they are very interested in programing different and unusual artistic proposals, like harmonica, for instance.
I look forward to recording my next CD; I think it will be Suite Anglaise for harmonica and orchestra by Darius Milhaud. Harmonica players for the most part do not like this work. I understand Milhaud doesn't write terribly well for the harmonica, sometimes it is too much low or too much chord.... but I think that: Milhaud is Milhaud and we can't ignore so famous a composer.
At the moment I perform viola with the Orquesta Filarmonica de Gran Canaria, but in February I will return to Italy and I will play with the Orchestra Sinfonica di Santa Cecilia; one of the better orchestras in Europe. The music director is M. Chung, the former music director of the Opera de Paris. I think this change may help my professional contacts.
The Classical Free-Reed, Inc. website is one the best I have seen about the harmonica, I am very proud that I have made it into your webpages. The section about the history for the free-reed instruments is fantastic; I learned so much about my own instrument and in particular its repertory from reading it. Do you have some more information about repertory for Harmonica ?
I hope not to play only the Villa-Lobos concerto for the rest of my life as this would be very boring !!!! and very dangerous for our instrument. (Guitar = Rodrigo Concerto Aranjuez ...... Harmonica = Villa-Lobos) I prefer to play my viola with Orchestra as it would be more interesting.
I believe in the contemporary repertory for harmonica and chamber music (harmonica and quartet string, harmonica and piano, harmonica and harp, etc.) Perhaps playing chamber music with harmonica will not be very good for the business but luckily I make very good business in the orchestra with viola.
I also have my personal group Tango 7 which performs Tango jazz; my own arrangements of Piazzolla's music and my own personal compositions. I think is really news for harmonica.
Do you play Bandoneón ? I wrote a concerto for this instrument (bandoneón and orchestra), which is, at this moment, entered in a composition competition.
REPLY:
Dear Gianluca,
I can't wait to hear your Suite Anglais. Please send me a copy as soon as it is released.
I do not play bandoneon; earlier this year I thought about purchasing one (I even drove my car 1000 miles to examine instruments for sale in Ottawa Canada and New York City). I wanted to further my career as the classical bandoneon is more popular than classical accordion, due to the influence of Astor Piazzolla.
However, I eventually decided against that route as 1) Peter Soave (a much greater musician than I) had already added the bandoneon to his arsenal of instruments and was playing a dozen or more concerts per year with orchestras, and 2) I accepted a full-time position as music director (principal organist, choir master and orchestra director) for a large Catholic church. (We normally have 3,000 - 4,000 people in attendance for our six Sunday masses.) Since taking that job, I have no time to practice learning a new instrument! Now I practice organ and conducting more than accordion.
Please send me the score to your concerto, I might be able to mention it in my soon-to-be-published book, The Classical Squeezebox. I have waited a long time (several years) but now the publisher is moving forward and with a little luck it will be printed in 2000.
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Wed, 3 Nov 1999 17:55:04 -0500
Last year I bought a quint free-bass converter accordion. I am enjoying
the
expanded melodic and harmonic opportunities offered by this instrument.
As a performer and composer would you happen to know if there are
performers, arrangers or composers who exploit the possibilities offered
by
the quint free-bass features -- as does music for the bandoneon which
exploits its particular features and gives that distinctive sound in the
free-reed realm? I am aware of only 3 Palmer-Hughes books for the quint
system -- perhaps there is more material?
Peter Wilk
REPLY:
Dear Peter Wilk,
I am not aware of any music written or arranged especially for the quint
free-bass convertor accordion. To my knowledge, composers and arrangers
expect that the performer will play their music correctly regardless of
the type of accordion used. However, perhaps virtuoso performers of this
type of instrument may know of music written especially for the quint
free-bass convertor accordion.
Two people come to mind:
Robert Young McMahan from New Jersey, a composer and performer of the
quint free-bass convertor accordion. I believe he has written some
original music especially for that instrument. You should be able to
contact him at
Sincerely,
Henry Doktorski, founder
Date: Sun, 31 Oct 1999 02:27:35 +0800
Being a harmonica lover in Hong Kong, I am very happy to inform you of a
great news in the harmonica world - Larry Adler and Cham-ber Huang will
appear on the concert stage together in Hong Kong on 30 Nov 99
(Tuesday). For details, please refer to the website of King's Harmonica
Quintet http://home.netvigator.com/~cblau/khq/.
Please help to spread
this news to others who may be interested in this once-in-a-life-time
event.
P.S. The concert is organised by the Provisional Urban Council of Hong
Kong, and they reserve all the rights on the details of the concert. The
information on our website is thus unofficial, especially the programme,
which may be subject to change.
Lau Chun Bong
Date: Sat, 16 Oct 1999 07:50:40 EDT
I have been asked by the New York State Council on the Arts to prepare an
article on the history of Polish American accordion players in Western
New
York. They will use the information for future workshops and as
background
information in future grant writing projects.
What I am looking for is a condensed history of the instrument. With Steve
Litwin,
we have documented concertinas, but my knowledge of the development of the
accordion is close to nothing. Any information you can provide would be
greatly appreciated.
Mark Kohan, editor
REPLY:
I am a Polish American accordion player, but I live in Pittsburgh PA!
(born & raised in New Jersey). You may find the information you want on
The Classical
Free-Reed, Inc. website. Click on History
of the Free-Reed Instruments.
Sincerely,
Henry Doktorski, founder
Date: Mon, 11 Oct 1999 22:15:03 -0700
Dear Classical Free-Reed, Inc.:
I stumbled upon your website one day and I decided to take a look. I was
intrigued by your article on the sheng, the Chinese ancestor of the
harmonica. I have some questions for you. Do you know if there are any
detailed books written about the sheng? Where could I find out more
information about the instrument? Is there any sheng player (shengist, I
suppose) you know of whom I could e-mail? Where could I aquire a sheng and
for what cost? Would it be feasible to construct a sheng myself?
I hope you can answer my questions. I really enjoy your website.
Sincerely,
REPLY:
You can find the address of a classical sheng player at
The Free-Reed Review Concert Review: Wang Zheng Ting, sheng, and
Richard Hunter, harmonica
From: DROTHE@csuchico.edu
I visited your interesting free-reed website and am wondering if you can
provide me with some information. I am a music professor at C.S.U., Chico,
where I teach mostly music history and organ. I have been interested in the
Chinese Sheng and the Japanese Sho ever since I heard a Sho demonstrated by
a young Japanese gentleman about 20-25 years ago at either a college Music
Society meeting or a meeting of the American Musicological Society. He
played a short piece "that traditional Japanese people play in the morning
when they are happy". It was a very moving experience. I'm wondering if
you could tell me:
b.) where one might be able to obtain one or both of these instruments.
c.) What one could expect to pay for these instruments.
d.) how one could learn to play one of these instruments. (If they come with
instructions -even in Chinese or Japanese- it would be no problem as we have
a number of native Asian students in our department (and one native Chinese
professor and graduate students) who could help with the
translation(s).
e.) where one might find repertoire appropriate to the
instrument(s).
Sincerely,
Dr. David Rothe
REPLY:
Dear Sir,
I suggest you write to Robert Garfias (rgarfias@uci.edu) and James
Cottingham (jcotting@coe.edu). They will be able to answer your
questions.
Mr. Garfias is the author of
Eastern Free-Reed Instruments and
James
Cottingham is the co-author of
Acoustics of the Khaen, both found on
The Classical Free-Reed, Inc. website.
Sincerely,
Henry Doktorski, founder
Date: Thu, 9 Sep 1999 18:57:19 EDT
Friends,
In Robert Garfias' article regarding Asian Free Reeds there is a wonderful
photo of sona players and sho players together. I would like to use this
photo for a lecture demonstration that I present entitled Öboes Of The
World". How may I get a copy and may I have permission to use it?
Sincerely,
Brenda Schuman-Post
REPLY:
Dear Brenda Schuman-Post,
Thank you for your inquiry regarding the photo of the sona and sho
players. (May I ask you how discovered our site?)
We do not own the photograph; if I remember correctly, Robert Garfias (the
author of the article) gave us permission to use it. You may write to him
directly at rgarfias@uci.edu.
It is a simple matter to download and print the photo from your own
computer, or from a library or school computer.
Sincerely,
Henry Doktorski, founder
Date: Sun, 22 Aug 1999 15:30:09 EDT
Joseph's article was a blessing. I just picked up a khaen from a shop in
Springfield, IL for around $10 and was curious about it's history, and how
it's played. I would be interested in hearing sound files of this
instrument being played, so if any more are posted or if you know of any
other sites that have sound files, please let me know.
Joel Hinkle
Dear Mr. Hinkle,
The Classical Free-Reed, Inc. has a sound file of a khaen at
The Asian Free-Reed, an article by Robert Garfias. Either Mr. Garfias
or James Cottingham may be able to provide further assistance.
Sincerely,
Henry Doktorski, founder
Date: Thu, 19 Aug 1999 14:54:26 PDT
Hi, Mr. Henry
I don't know if you remember me. we met a long time ago, in a concert of
the cuarteto Latinoamericano de Cuerdas, performing a
String Quartet by Astor Piazzolla. I'm a very good friend of Cesar Olguin.
I told you I was studying a masters program in Conducting. Currently I'm
a student of Dr. Robert Page. I'm graduating in May 2000.
But I also told you that day that I'm a conductor and accompanist at
the main Opera company in Mexico. I work at the Palacio Nacional de
Bellas Artes since 1991.
The reason of my message is because I conducted the Symphony Orchestra in
Veracruz, Mexico, last June 9. And part of the program was the first
performance of a work by Pittsburgh composer NANCY GALBRAITH. The concert
was a success. I have some reviews that I would like to show you because I
think is important that people know that I'm promoting the music of our
times, and the composers from Pittsburgh. Currently I'm making a
specialization on music by composer Reza Vali, teacher at CMU.
And also, in that concert, I also conducted the first performance in
Mexico of a CONCERTO FOR BANDONEON AND ORCHESTRA, the 'THREE TANGOS", and I
invited my friend CESAR OLGUIN to be the soloist! He played wonderfully and
I'll also show you the reviews. By the way, he send you greetings.
Thanks and see you later.
ANTONIO ESPINAL
Date: Mon, 26 Jul 1999 20:50:33 EDT
Dear Henry:
Congratulations on a great article titled The
Beatles and the Free-Reed Instruments.
I could never have been as thorough as you were.
Now for the bad news. I was (and still am to some extent) under
the
impression that the harmonica players you listed for "Being for the
Benefit
of Mr. Kite" was correct. Now, go get a copy of the "Beatles Anthology 2"
CD and inside the booklet you'll see a lovely picture of John Lennon and
George Harrison playing bass and chord harmonicas while wearing their Sgt.
Pepper outfits, obviously in the studio.
Gee. Just when we had everything all figured out, somebody had to
come along and screw us up with facts. Que Sera Sera. Such is
the fate of
all who try to report history. (It's just a mystery)
Keep up the great work and I hope to see some more of your great
work
in the future.
Your fan,
Peter W. Krampert
Dear Mr. Krampert,
It was a great pleasure to hear from you. I was thrilled to receive a
review copy of your book, The Encyclopedia of the Harmonica which
I reviewed in the pages of The Free-Reed Review. In fact, I
discovered some interesting facts about John Lennon and the harmonica in
your book which I used in my article. Truly I have been (and still am) a
great fan of the Beatles. This article was simply an expression of my
appreciation for their music.
Thank you for the information regarding the photograph in the Beatles
Anthology 2. I will have to take a look at it! I wonder if they
actually played the harmonicas in the recording or whether the photo was
simply a publicity shot. As far as I can imagine, it could have been
either, or both!
Thanks again for your letter.
Sincerely,
Henry Doktorski, founder
Hello Henry,
For some time, I've been toying with the idea of putting together a book
tentatively titled "Squeezers: A Guide to Contemporary Accordionists and
Accordion Resources". My first book, "Modern Twang: An Alternative
Country Music Guide & Directory", which was recently published by
Dowling Press has profiles (biography, discography, contact addresses)
of over 600 performers including many that are either accordion based or
in which the accordion plays a prominent role e.g. Cajun, Tex-Mex,
cowboy, Western swing et. al. It has also a number of appendices for
record labels, publications, web pages, venues, radio, and other
resources. I have the same type of structure in mind for "Squeezers"
with profiles of modern accordionists but from a wider range of styles
and with appendices devoted to the above plus accordion manufacturers,
organizations, etc.
So far, I've done lots of basic research and compiled a file drawer full
of about 200 accordionists and lots of resource information. Most of
those on the list have substantial recording/performing experience
and/or have made significant educational/promotional contributions. Your
web site has been *very* helpful and before I delve too far into this
project, I wanted to write and ask your advice. Any comments or
suggestions would be greatly appreciated. Could you suggest others I
might contact about my idea? I'm not an accordionist but simply a big
fan of the instrument in all its wonderful diversity.
Thanks; look forward to hearing from you.
David Goodman
REPLY:
Hello David,
Thank you for your kind words about our site and good luck with your book.
All I can suggest is to look at our
Links page. Any other reference I
might suggest can be found there.
Sincerely,
Henry Doktorski, founder
Date: Mon, 28 Jun 1999 21:54:11 +0200
We are trying to find out something about an Indian or Persian instrument
called a serafina or seraphina. It is a kind of accordion but is played
sitting on the floor with a bellows-like flap on one side and a keyboard
whose stops are circular like the keys on early typewriters.
It seems to be a fairly modern 'invention' or adaptation dating from the
19th century. It is best known in contexts such as the Bombay Victorian
theatre of the 19th and early 20th centuries.
Does anyone know its history, the correct name and spelling and its
nearest relations? We would be glad for any help that can be given about
this.
MF
The serafina is news to me. At first I thought of the Indian table-top
hand-pumped harmonium -- an instrument which I have played for two
decades, but the serafina seems to predate the harmonium as it uses
buttons intead of keys. The first accordions had buttons, only around 1850
were accordions make with organ or piano keys.
I suggest you get in contact with Darcy Kuronen, Curator of Musical
Instruments, Fine Arts Museum, Boston, who is on the board of advisors of
the Center for
the Study of Free-Reed Instuments. If he cannot help, perhaps he can
recommend others.
CFSFRI Director Allan Atlas (aatlas@gc.cuny.edu) can give you an address
for Mr. Koronen. I would be grateful if you would share with me any
information you might find.
Sincerely,
Henry Doktorski, founder
Dear Mr. Doktorski:
I've just read
in the New York Times of Pietro (Lee) Deiro's Death
last Saturday. I am searching for historic recordings of his father and
himself, as well as a definitive catalogue of all of their original
compositions. Would you have any suggestions?
Dear Sir,
1) my friend George Kipper (gkip@loc.gov) works at the Library of
Congress. He is also an accordion afficionado. Perhaps he can help you.
2) There is a Frosini-Deiro society in Sweden: Frosini-Deiro Foreningen
directed by Bernt Bostrom. I do not know the address, but you can write
to the director of the
Frosini society who can give you Bernt Bostrom's address:
Lars Ek
Here is another address, I do not know which is more curent.
Lars Ek
You might also write to Faithe Deffner, president of The American
Accordion Association, who knew Deiro Jr. personally. Her address is:
fdeffner@aol.com.
Please share with me the information you discover. Perhaps you can even
write an article about Pietro Frosini Sr. including catalog of works,
which I can publish on the pages of The Classical Free-Reed, Inc.
Henry Doktorski, founder
Dear Sir,
I was given your e-mail by Allan Atlas. I am a graduate
composition student at SUNY Stony Brook, and I've been asked to write for
classical accordion. I was wondering if you have any materials advising
what can and can't be done, ranges, etc., or if you could direct me to a
reference on this. Please respond when you have time. Thank-you.
Daniel Koontz
Hello Daniel,
Joseph Macerollo has written "Accordion Resource Manual" (Avondale: 1979)
especially for composers. I believe the Lincoln Center Library has it.
You can also find Helka Kymalainen's Harmonikka taidemusiikissa (The
Accordion in Classical Music) to be useful. I wrote a review of said book
for the Free-Reed
Review.
I invite you to write an essay about your experience writing for
accordion. I am always looking for interesting articles to publish in our
"Free-Reed Review."
Sincerely,
Henry Doktorski, founder
Hi there!
The Henry Doktorski-Review on Hovhaness' "Rubayat" was
a great pleasure for me to read. Mr. Doktorski gives a
straight and conclusive impression of this extraordinary
work by Alan Hovhaness.
By the way: I am a German music-critic, very interested in
- and of course touched by - the work of Alan Hovhaness.
In Europe, Hovhaness was nearly unknown until the early Nineties.
Now there is finally a slightly increasing interest for this
great composer and truly outstanding, unique genius of music.
I discovered your review on Hovhaness' Rubayat by trying an internet
search (altavista) for "alan hovhaness." I didn't know about "Rubayat" as
this work is not yet distributed in Germany. But I hope it will be soon.
Thank you, and my best wishes for your site...
Bernd Kammerer
Date: Sun, 13 Jun 1999 12:30:48 -0500
Hi--
Great web site!
Do you know of anyone who could re-tune my Indian harmonium to my
specifications (a particular microtonal scale--I could specify pitches in
hertz, cents, or ratios)...
Thanks!
REPY:
Dear Phil,
I think ANY accordion or reed-organ technician with a good electronic
tuner should be able to do the job you requested.
I played the harmonium for Bengali-Vaishnava services for 16 years, in
temples in America as well as India -- Calcutta, Mayapura, Vrindavana,
Rishikesh, Delhi, Bombay, etc. -- during my association with the Hare
Krishna Movement (ISKCON). I still play occasionally for house-kirtans &
bhajans. Did you see my review of A. C. Bhaktivedanta Swami Prabhupada's
"Krishna Kirtans" CD in The
Free-Reed Review?
Are you well-versed in Indian music? If so, I would be delighted if you
would submit an article or two for "The Free-Reed Journal" or perhaps
write CD reviews for "The Free-Reed Review."
Sincerely,
Henry Doktorski, founder
Date: Sat, 12 Jun 1999 21:31:31 -0700
From: Country@centuryinter.net (Martin & Renee Curtis)
dear sirs:
I have recently acquired a reed organ which has the name "Clough &
Warren Organ Company" spelled out on the front. I know it is missing a
piece which was placed on top because of the discoloration of the wood.
I have been cleaning it, but am afraid of damaging it.
Any information you could give me on this beautiful instrument, i.e.
restoring, when made, valuation, etc., would be greatly appreciated. I
do not wish to sell it as I bought it for sentimental reasons and plan
on keeping it forever.
Sincerley,
REPLY:
Dear Reneé,
Thank you for your letter. I wish I could help you more, but all I can do
is refer you to the Harmonium
and Reed Organ section on our "Links" page.
Sincerely,
Henry Doktorski, founder
Date: Mon, 24 May 1999 22:12:24 -0600
Hi! Love your website.
Does anyone know how I might find an arrangement of Ponchielli's "Dance
of the Hours" for accordion? I am particularly interested in the "Presto"
section...
Mary Outten
REPLY:
Dear Mary,
I believe Anthony Galla-Rini wrote an arrangement, although I couldn't
find it at the
Music Graphics Press website. Perhaps you should write or call
Galla-Rini personally. His address can be found on The Classical
Free-Reed, Inc. Performers
Directory page.
Sincerely,
Henry Doktorski, founder
Date: Sat, 15 May 1999 14:41:26 +0100
Dear Henry
Last year I made the decision to quit concert playing, as other
professional duties have prevented me from achieving this aim.
Therefore I ask if you would remove my name from the performers list.
Sorry for any inconvenience this may cause.
Many months ago I promised to send information about Portuguese
accordionists.
Due to the same reason, only next month I'll be able to give you the
names and addresses. This time is for real... I've been in a course
directed by Zubitsky and he liked the young
players. I think in a couple of years you'll hear of them as they are
very good.
Best regards
REPLY:
Dear Octavio,
Instead of removing your name from the list I have
marked it "retired." I do not consider myself a concert artist, yet time
to time the Pittsburgh Symphony and other local ensembles need an
accordionist so I keep my name on the list.
Especially now, that I have accepted a fulltime position as music director
for a Catholic church which begins next month.. I do not think I will
have much time at all to practice accordion anymore, as I will be
practicing organ
and directing four choirs as well as playing over 400 services per year,
not to mention administrative work. It is a rather large church.
And yes, I look forward to your list of Portuguese classical
accordionists.
Sincerely,
Date: Wed, 12 May 1999 19:23:59 +0100
I am 19 years old and have been playing piano accordion for 7 years.
I've just moved on to a Pigini 96 convertor bass system and I wondered if
you knew of any tutor books for this system so I can get started on the
right footing (should that be fingering?!!)
Thanks for any help, I also love your web site a lot.
REPLY:
Dear Sam,
Congratulations on the acquisition of your new Pigini!
I just received in the mail a book in Spanish which might be helpful:
Acordeion Divertido by Ricardo Llanos, published by
American accordionist James Wadowick just published a Thesaurus of Scales
for bayan. His email address is wadowick@p-c-net.net.
However, I strongly suggest finding a teacher, if only to get you
started.
From your email address, I assume you live in England or Scotland. In
England, Professor Owen Murphy teaches accordion at the
In Scotland, Una Bryson-Cunningham teaches free-bass accordion at
Ian Tomlin School of Music
You might also contact the manufacturer at
http://www.pigini-accordions.com/index.htm
Best wishes!
Henry Doktorski, founder
Date: Tue, 4 May 1999 23:35:23 -0000
Hi Henry,
This is the first time I have visited your website - it's really great.
I was recently diagnosed with carpal tunnel syndrome due to perhaps
unintelligent practicing and frequent use of the computer. It's blown
away my dexterity and confidence. I'm currently wearing a wrist splint
and using hot/cold packs frequently trying to get over this thing. Do you
know of anyone that has had the same problem and successfully gotten over
it? I'm desperate for any useful tips.
Hi Bob,
Thank you for your kind words regarding our humble website. It is always
encouraging for us to hear that others appreciate our efforts.
Have you seen the series of articles in The Classical Free-Reed, Inc.
website titled The Accordion: A Back Breaker?
Terry Knight mentioned in the first article "Case Histories" that he has
carpal tunnel syndrome, but unfortunately he seems to have disappeared.
I've been trying to locate him for a year!
John Bonica might also be of assistance. His phone number is 503-254-2652.
Sincerely,
Henry Doktorski, founder
I want to restore a harmonium (in my possession). I can't find sites or
information about the instrument "harmonium." So if you can help with
information about it, please send me mail.
Greetings
The best I can do is to refer you to our "links" page. There you will find
links to Harmonium Home Page and Harmonium Index.
Perhaps the authors of these sites will be able to help you. If you
discover other sites about the harmonium, please let me know and I will
include them in our "Links" section.
Sincerely,
Henry Doktorski, founder
The Classical Free-Reed, Inc.
Date: Wed, 7 Apr 1999 09:43:35 -0700
Henry,
As you recall I had been working to arrange a tour and/or visit of Rahman
Asadollahi to the Bay Area Accordion Club. I first heard and saw Rahman in a
video that was forwarded to me of a couple of his concerts with orchestras
in his native country of Azerbaijan. I was very impressed with his playing
of folk music. That was the tape I sent to you to check out.
Subsequently he was stricken with cancer and to offset his medical expenses
a 2 CD recording was made called "The Best Of Rahman". A copy was sent to me
and I reviewed it for The Classical Free-Reed, Inc. web site.
(Please see The Free-Reed
Review.) I was very impressed with the fine
performance of folk music of a type most people in the US have never been
exposed to.
The Azerbaijan Cultural Society of California decided to sponsor him on a
tour which included several cities throughout the US. Rahman is now living
in Germany. The folk music he plays is now outlawed by the government where
he came from and he was arrested once for playing his accordion and that
music. This gives a whole new meaning to that famous bumper sticker...."Use
an Accordion Go to Jail"!
San Jose was the site of his last concert a week ago and in thanks for our
review of his CD he offered to attend and perform at our meeting last night.
Wow....what an artist! He plays a Garmon which is another variety of the
accordion. It is a very small instrument....about the size of a 12 bass
accordion. It has piano accordion type keys but very narrow. The musician
only uses one strap which is over the right shoulder. The right hand pushes
it against the shoulder strap and the thumb is usually used in a bracing
position with most playing done with four fingers although occasionally he
would use his thumb. The tuning of the accordion is to a different scale
than the normal western scale although I was unable to find out what the
actual tuning was due to the language difficulties. There are also bass
butons which seem to be in a chromatic like arrangement of two rows of about
20 buttons each.
Rahman was accompanied by one person on a folk drum (he was an incredible
percussionist also). The two of them played some of the most intense music I
have ever heard. Talk about emotions....the music was incredibly infectious.
He is a composer and arranger with much honor from his prior home land as
well as in Europe where he won first place in Switzerland at a top accordion
competition in 1995. He played three tunes each of which were quite long. At
the end of each he got standing ovations from the very sizeable
crowd....something our club reserves for very few outstanding performers. I
don't recall that even Lips or Semyonov got three standing ovations!
The instrument is very powerful and the playing style allows for lots of
dramatic flourishes while playing....flutters, bellows shakes, bellows
induced variations. And the music tends to consist of many very complicated
riffs and key techniques which were unique and I am sure many of our members
will try to emulate in their own music styles. It reminded me very much of a
virtuouso Bandoneon players technique or the amazing bellows control of a
Lips or Semyonov.
The fear I had was that the music would be so "strange" to our western ears
that it would be hard for our audience to understand. It was just the
opposite....the audience loved it!
He will be going back to Germany now but perhaps he could be persuaded to
come back for a repeat concert tour in the future. Isn't it shocking that
there is a country where you can actually go to jail for playing an
accordion. Before he started his concert he gave an impassioned plea plea
through an interpreter for music to be the one non-politicized aspect of
life. One of the pieces he played was over 900 years old. It is sad that
some governments will destroy such a legacy in the name of politics. I
know that after the concert many members came up and thanked him for what
he is doing to keep the music alive....I know he felt very happy about
that....you could tell that all he lives for is passing his heritages
music on to future generations. Pretty powerful stuff!
Date: Sat, 27 Mar 1999 20:17:15 +0100
My dear friend Henry!
Excuse me, please, for my long silence. Recently I had a terrible case of
influenza (this year spring is so early, but so cold!) and now that war
with Yugoslavia has begun every day we watch all the events - so
terrible and infinite.
Now the best young accordionist is in Yugoslavia, as well as all the last
winners of the Coupe mondiale and Trophee mondiale -- Castelfidardo,
Klingenthal -- young 17-18 years boys from this country. Their teachers
studied in my country -- in the Moscow, Kiev and Minsk conservatories --
and now the 2nd generation students give fantastic results. In fact, it
may be that now the young Yugoslavian accordion school is one of the best
in the world. And this terrible problem with their president, such a
terrible situation is difficult especially for musicians. I now see it
from the same situation in my country (the former U.S.S.R.), when all
think only about politics and economics - nobody about music or art.
Your friend,
Date: Fri, 12 Mar 1999 12:36:29 -0500
Hi Henry,
It's been quite awhile since I've written to you. I have really been
drowning in the sea of information about accordions on the Internet.
There is more than enough data there to fill several volumes.
I visit your website very often and am amazed at how it keeps up to date
in its CD reviews and what's new in the free-reed world. The letters,
too, are informative and thought-provoking. Although it must consume a
tremendous amount of your valuable time, I hope you still can keep "The
Classical Free-Reed" website going indefinitely.
Keep in touch.
Date: Mon, 22 Feb 1999 19:39:24 -0600
Hi,
Enjoyable to read about Veikko Ahvenainen. I met him once, Oct. 16,
1994, in concert at Holy Trinity Lutheran Church, Hibbing, MN, and I
bought his Studio Recording CD, upon his recommendation. I was, in fact,
the first person allowed to play an accordion at that church, when I was a
teenager.
Having not practiced for nearly forty years, I determined, upon
hearing Veikko play, that I would not let this talent die before I do!
So, I started taking lessons all over, with Helmi Harrington and her late
partner Duane Sellman, within a month after listening to Veikko. Now I
own a new Delicia Dineta with combination chromatic free bass and German
Stradella, and an enhanced piano keyboard, and I enjoy playing it very
much--polyphonic music in just about every style I can find time to
learn.
I would like to buy more of Veikko Ahvenainen's CD's, etc. and those
of other accordionists. The best are not usually available in record
stores. Specifically, I am looking for his "Säkkijärven polkka." I got
no response from the publisher of his Studio Recording CD, when I wrote
there. Can you help me find such?
John K. Bispala
REPLY:
Dear John,
I also heard Mr. Ahvenainen perform. It might have been the same year as
you, in 1994. This was at the American Accordion Musicological
Society festival at King of Prussia, Pennsylvania, organized by
Stanley Darrow.
Although Mr. Ahvenainen gave me his business card with a California
address, the address is no longer current. I don't believe the addresses
listed on the two reviews of his CDs in The Free-Reed Review are current either
Perhaps an internet search might help?
If Dr. Helmi Harrington does not know Mr. Ahvenainen's where-abouts,
perhaps Mr. Darrow does. You can reach him at 609-854-6628. Please let me
know if you have any success and I will include his updated address in The
Classical Free-Reed, Inc.
International Directory of Classical Free-Reed Performers.
Sincerely,
Henry Doktorski, founder
Date: Thu, 04 Feb 1999 21:43:02 -0600
Dear Mr. Doktorski:
I noticed that you have a link to the homepage of the late Dr. Willard A.
Palmer from The Classical Free-Reed, Inc.. I am sure that my father
would have been honored to be mentioned on your site. Your name is quite
familiar to me. He mentioned it on several occasions--favorably, I might
add! ;-)
I will be most happy to put a link to your site on not only his web
page (http://www.willardpalmer.org/index.htm), but my links page
(http://www.billpalmer.com/links.htm) as well.
Yours truly,
Bill Palmer, A.I.M.C.
Date: Sun, 31 Jan 1999 22:22:10 +0200
Dear Mr. Doktorski
My name is Ari-Matti Saira. I am a Finnish accordionist, but also composer
and publisher, too. My friend Matti Murto adviced me to contact you.
I tell something about me:
I began playing the accordion at the age of five as a pupil of Lasse
Pihlajamaa. While at the Helsinki Conservatoire my tutors were Matti
Rantanen and Sirkka Kelopuro. I got my accordion diploma in 1989, before
continuing my studies with Mogens Ellegaard.
Participations in competitions has brought me a number of successes: junior
prizes in a number of Finnish accordion contests, Nordic championships, and
third place in the international CIA tape competition in the 1970s. Later
in 1996 I got the second prize in Castelfidardo in the duo-category playing
with my wife.
I have made numerous appearances as both a soloist and a chamber musician
and I have been recording for the Finnish Broadcasting Company since
1986.
I have recently composed chamber music (see the MODUS MUSIC cataloque),
solo works and teaching material for the accordion. Since 1996 I have
published those works by AMS-production Ky. And now I am teaching at the
Southwest Häme Music College.
The web pages of the Classical Free-Reed Inc. are a pleasant surprise for
me. A lot of good accordion music can be found from your sites - thanks to
your big work. I hope that also my music can find the playing people and
the teachers over the world. In a few days I am going to send scores to
you. I send also a CD played by DUO SAIRA. I hope that you'll find them
interesting enough to be introduced in the Free-Reed pages.
Sincerely,
REPLY:
Dear Sir,
Wonderful to hear from you and thank you so much for your kind words
regarding The Classical Free-Reed, Inc. website. Certainly all of us on
the staff have worked hard to make it worth your while to visit! I
remember your name from the quartet score -- Astory -- Matti Murto sent to
me. I wish you all success in your performing, composing, teaching, etc.
and I do look forward to receiving your new scores & CD.
Sincerely,
Henry Doktorski, founder
Date: Sun, 24 Jan 1999 21:40:43 -0800
I am currently preparing a paper on the use of the harmonica in western
American history. I am particuarly interested in its introduction to
America and also references in personal journals of early pioneers on
the California, Oregon, and Mormon trails. I have gleaned some entries
from personal journals, but would like to have more. Also, I am hoping
to be able to receive copies of early newspaper, magazines, etc., ads on
the harmonica. Is there any chance you might be able to provide me with
some leads to sources for such information. I would be indebted for any
help you might be able to give. Thanks in advance for considering my
request. Sincerely,
Dear Gary,
I suggest you go to The Classical Free-Reed, Inc. webpages titled
Links to
Other Free-Reed Websites and then scroll to the section titled
"Harmonica." Richard Martin is a scholar of the harmonica and produces the
excellent publication
Harmonica Educator.
You might also contact Allan Atlas, the founder of Center for the Study of Free-Reed Instruments.
There are other websites listed as well which might be able to assist
you.
Please let me know when your paper is completed, perhaps we can publish it
in The
Free-Reed Journal.
Sincerely,
Henry Doktorski, founder
Date: Sat, 23 Jan 1999 22:18:34 +0100
Hello,
I would like to order the CD
Classical Accordion
by Geir DRAUGSVOLL. Is
it possible to get it from France (eg via FNAC or Harmonia Mundi shops ?).
The reference is SIMAX PSC 1096.
Thank you for your reply.
REPLY:
Greetings, Renato.
As far as I know, you can order the CD through any commercial record
store. In our reviews we always publish ordering information, when
available.
Best,
Henry Doktorski, founder
Date: Sat, 23 Jan 1999 12:29:05 -0500
Dear Henry,
I ordered the cassette "Musical Glimpses" played by the UMKC Accordion
Orchestra under the direction of Joan Cochran Sommers. The orchestra
consisted of approximately 20-25 accordions with percussion and
ocassionally when called for, harp or piano. The selections included
music by Gershwin, Debussy, Bartok, von Suppe, Liszt, and Grofe. Sommers
did a superb job of arranging some of the music, as did Galla-Rini.
I was very impressed with the variety of sounds that were produced by
the orchestra and the high quality of the performance. The orchestra
sounded as if was made up of more than just accordions.
The writeup that accompanied the cassette mentioned that they used
special accordions called "electroniums" that helped to provide color,
particularly in the upper woodwinds and brass. At that point I put on
the brakes and thought "what in the world is an electronium". In
covering electronic accordions I felt that I had included all when I
covered the Accorgan, Cordovox, MIDI, and the reedless accordions. I had
never come across any mention of the electronium.
I immediately got on line and searched for any mention of the electronium.
What I came across was Robert Berta's free-reed review of The Viennese
Accordion Chamber Ensemble CD Everlasting Classics.
Berta said that he "noticed something unusual (at least in my native
United States) in the ensemble: an electronium". He stated that the
electronium was one of the first electronic accordions developed about
thirty years ago and is still popular in Europe. In the U.S. it is rapidly
being replaced by the MIDI accordion. He added that to his knowledge The
Westmont Philharmonia Accordion Orchestra directed by Stanley Darrow is
the only American accordion ensemble to use an electronium. Was that
before UMKC orchestra used it?
Anyway, I'd like to know more about the electronium. Do you have
anything on it?
Thanks.
Toni
Dear Henry,
After I sent you my e-mail re the electronium I found a description of
it on the net written by Jason M Mugen at mugen@spacelab.net that he had
sent to SRRecords@aol.com with a copy to analogue@hyperreal.org., taken
"from the beautiful site 120 years of Electronic Music".
In it he said that the electronium was designed by Seybold and
manufactured by Hohner in Trossingen from 1950 onwards. He added that it
was a monophonic electronic instrument resembling an accordion and that
it had a 41-note keyboard with keys or buttons and 16 registration tabs.
with the overall volume being controlled by the bellows.
Then he mentions the Electronium Pi which was a keyboard controlled
electronic instrument with 20 stop-tabs for divide-down synthesis
It had a 3-octave range transposable up or down within six octaves,
controlling a single vacuum tube oscillator. The Electronium Pi was
much used throughout the 1950's in Germany for both light and serious
music. I also was used by several German Avant-Garde composers -
Karlheinz Stockhausen on "Telemusik" and "Solo" (1952-56) and later on
"Kurzwellen" (1968) performed by his own group with pianist Harald
Boj=E9 (?) playing a modified standard electronium.
Date: Fri, 15 Jan 1999 16:19:31 -0500
Hello Henry:
Last week I left a message on Andrew Huggett's answering-machine re:
your recent CD review
[The Free-Reed Review No. 150:
Joseph Petric, Accordion, playing works by Soler, Mozart, Scarlatti,
Molique and Andrew Huggett].
Andrew called me back today and was very pleased to
see the review. I also went to Joseph Petric's web-page to see whether
there were any reviews yet re: this 1993 CD; however, the link on
reviews did not seem to work for me:
http://www.interlog.com/~jpetric/CDs.html
Sincerely,
Doug Cumming
Date: Wed, 20 Jan 1999 07:18:57 PST
Hello,
i don't know if my last Emailhas been sent ... So i try to send it to you
again:
I'm french, anesthesiologist, and i play piano and guitar. I love
bandoneon for a long time. I have just bought a used-one a few days ago.
It's a very nice instrument, 20' years old, in perfect state of playing.
I'm working alone and i'm now looking for a very good lurning method.
Could you please advice me about that? I really think that this instrument
and this kind of music will know follow me all my music-life long.
Thank you very much.
Eryk Eisenberg
REPLY:
Hello Eryk,
you can find a list of some tutors at
http://laue.ethz.ch/cm/htm/band/node31.html but most of them are not
more available or for the bisonoric instruments. Since you say that your
instrument is only 20 years old, it might be a french unisonoric one,
presumibly a Peguri type. I do not know about tutors for such
instruments, may be Olivier Manoury mailto:manoury@club-internet.fr can
help you.
greetings
Christian Mensing
Date: Tue, 19 Jan 1999 23:58:46 -0600 (CST)
I am a classically trained professional flutist, interested in
ethnomusicology.
First, does Joseph Lilly have an e-mail address? I would like to
contact him.
Second, he mentioned a Khaen hok with six tubes. My instrument, received
from Thailand missionaries (Paul and Paula Jarot) stationed in Chaing Mai,
has only five. It is also not as delicate - the bamboo seems very thick,
and the gourd that the bamboo is set into is also huge, compared to the
picture of Mr. Lilly's Khaen. (Gourd neck = six inches, gourd body about
4-5 inches square.
Do I have a Khaen? Or some other type of free-reed? I have enclosed a
photo, I hope you can see it.
Thanks for your help.
Sheila Courtney
REPLY:
Dear Sheila,
I do not know Joseph Lilly's email address; however, you can write to his
professor at Coe College: James Cottingham at jcotting@coe.edu. I'm sure
he could assist you in the identification of your instrument!
Sincerely,
Henry Doktorski, founder
REPLY
From JCOTTING@coe.edu Thu Jan 21 09:46:34 1999
What you have is a close relative of the khaen, which goes by various
names. For more information I would suggest the following article by
Terry Miller: "Free-Reed Instruments in Asia: A Preliminary
Classification" in Music East and West: Essays in Honor of Walter Kaufmann
Pendragon Press, 1981
Or better yet, you can get in touch directly with Terry
Miller, ethnomusicologist at Kent State Univ. You can reach
him by e-amail: TMiller666@aol.com
I know a little about these instruments, and have done some
acoustical experiments on them, but Terry Miller is the real
expert on the free-reeds of Southeast Asia. If you are
interested in playing it, he is the one to contact.
Jim Cottingham
REPLY:
Date: Sat, 23 Jan 1999 00:21:46 -0600 (CST)
Thank you for your help in locating the information requested...CHEERS!!
Thanks again for your informative website and leads - I truly do
appreciate it!!
CHEERS!!!
Sheila Courtney
REPLY:
From TMiller666@aol.com Sun Jan 24 02:41:44 1999
Sheila, The instrument is easy to identify. It is a gourd free-reed pipe
from N. Thailand. Easily bought by tourists. The name varies by ethnic
group. A common name is "naw". Most of the minorities of N. Thailand have
them, such as Akha, Lisu, etc. The Hmong instrument, though, is
different. I have several and a student of mine last summer went nuts
there and bought about a dozen. He registered in New York with the union
to play them. Indeed, Alan Atlas knows him probably--Joe Kaminski. You
can see a lot of pictures of this inst. in PEOPLES OF THE GOLDEN TRIANGLE
by Paul Lewis.
Date: Tue, 19 Jan 1999 19:18:18 -0500
Henry,
Many, many thanks for your comprehensive review of the Nina & Lena CD! I
hope their works, like yours, are a further inspiration for others to
embrace the "classical free-reed"!
Warmest personal regards,
Date: Sun, 10 Jan 1999 21:06:42 -0000
Dear Henry,
best wishes and all the best for 1999!
I visited your homepage and I can only congratulate you! It surely was a
tremendous effort to achieve this site!
May I give some information:
Lech Puchnowski has now an email: accpuch@chopin.edu.pl
There are also another Austrian accordionists who should be mentioned in
your list:
Dr. Georg Schulz
He teaches the accordion at the Graz Hochschule, performs especially new
chamber music and works a lot with composers.
Klaus Paier
He is Austria's only accordionist with a jazz diploma from the
conservatory in Klagenfurth (3 CDs).
If you want you could also mention myself. You can find information about
me at: http://www.accordions.com/Scheibenreif
Kind regards also from Silvia,
Herbert
Subject: The Decline of The Accordion
From what I have read, the decline in the popularity of the accordion in
America was in the jazz/big band/ethnic/novelty fields. While researching
my article "Gershwin and the Accordion" (see The Classical Free-Reed, Inc.
website: http://trfn.clpgh.org/free-reed) I discovered that from the
1920s through the late 1950s (approximate) many network radio programs
featured accordionists. Charles Magnante appeared regularly on the Major
Bowes program which was syndicated nationally.
Cornell Smelser performed Gershwin's "Rhapsody In Blue" in its ENTIRETY
with a big band on radio, at the time he was one of only THREE performers
who were permitted to play the work on the air waves, the other two were
organist Jesse Crawford and composer/pianist Gershwin himself.
The market was so strong for accordion that the second recording of
Gershwin's Rhapsody (released in 1928) featured the accordion duet team of
Basil Fomeen and Nick Hope. (The only other recording available on Victor
Record Co. was by Gershwin himself with the Paul Whiteman Orchestra
released in 1924).
The third recording was by Jesse Crawford (1933).
Truly, the 1920s through the 1950s were a boom time for the accordion in
mainstream music circles.
Only in the recent decade has the accordion again been featured, but not
in mainstream circles, only in folk music (zydeco, cajun, etc.) although
I must admit that tango has been gaining acceptance in concert music
society. It actually has been for a long time in a way: Stravinsky as
well as other classical composers wrote tangos, but then again, they also
wrote polkas which are not exactly mainstream music!
By the way, accordion is actually only a hobby for me, as I can't make a
living playing the music I like on it (classical). Professionally, I am a
pianist, organist & choir director.
Sincerely,
Henry
From: Ralph Stricker -- bjpro21@ix.netcom.com@ix.netcom.com
I first noticed that things were changing for the accordion around 1958.
I pleaded with many members of the industry to stop being complacent. I
saw the death knell in 1962 and knew that the end was near. I had at one
time 600 students at my music school. 500 were accordion students and the
rest were a variety of piano, guitar, drums.
By 1964 after the Beatles come to the US we were down to 400 accordion and
the rest were guitar. 1966 I had 250 accordion students and 200 guitar
students. In 1968 I sold the school with 150 accordion and the rest
guitar. I should of "joined" them instead I wouldn't switch instruments. I
hated the guitar as I had to employ teachers who in years past I wouldn't
even acknowledge them as musicians. Not because I disliked guitar but
because they were horrible players. I could not compromise my
integrity.
Regards,
Ralph Stricker
From: Wilk@ati.com
Subject: Quint free bass system accordion
9 George Washington Drive
Another person is Salvatore di Gesualdo, concert artist and professor at
the Conservatorio "Cherubini" di Firenze in Italy. I believe he may be
the greatest quint free-bass convertor performer the world has ever seen,
having performed Bach's entire "Art of Fugue" note for note on solo
accordion. His compositions and transcriptions are published by Ricordio
(Milano) and Berben (Ancona). He can be reached at:
Titusville, NJ 08560
609-737-6362
mcmahan@tcnj.edu
Via della capponcina 29a
I would be grateful if you would share with me any information you may
discover.
50135 Firenze
Italia
Phone: 055-284757 (State Conservatory)
The Classical Free-Reed, Inc.
From: Lau Chun Bong -- cblau@netvigator.com
Subject: Harmonica masters Larry Adler and Cham-ber Huang to perform in
Hong Kong
King's Harmonica Quintet
From: Mkohan@aol.com
Subject: Accordion History
Polish American Journal
Mkohan@aol.com
The Classical Free-Reed, Inc.
From: Steve Doyle (sddoyle@ibm.net)
Subject: Sheng Questions
Paul Doyle
a.) the differences between a sheng and a sho.
Thank you very much for your assistance.
Professor, Music and
University Organist
California State University, Chico
The Classical Free-Reed, Inc.
From: BSP6263@aol.com
Subject: photo of sona players
The Classical Free-Reed, Inc.
From: Jmhink@aol.com
Subject: Joseph Lilly's article on the khaen
REPLY:
The Classical Free-Reed, Inc.
From: conductorespinal@hotmail.com (jose espinal)
Subject: greetings from a friend from Mexico
From: PKrampert@aol.com
Subject: Beatles Article
REPLY:
The Classical Free-Reed, Inc.
Date: Thu, 15 Jul 1999 12:50:51 -0400
From: twirlyd@lancnews.infi.net (David Goodman)
Subject: Book Advice
Lancaster, PA
http://www.lancnews.com/moderntwang
The Classical Free-Reed, Inc.
From: sb.fr@wanadoo.fr (senake bandaranayake)
Subject: What is a serafina?
REPLY:
The Classical Free-Reed, Inc.
Wed, 23 Jun 1999
robertov@citytv.com (Roberto Veri-Breakfast TV-2451)
REPLY:
Musik & Underhallnings
SKRADDERIET AB
Hogvallavagen 9
131 46 NACKA
Sweden
phone: 08-718 06 30
fax: 08-716 23 70
Norrtullsgatan 10, 3 tr
113 27 Stockholm
Sweden
tel. 08-30 60 86
The Classical Free-Reed, Inc.
Wed, 23 Jun 1999
Dkoontz@ic.sunysb.edu (Daniel Warren Koontz)
REPLY:
The Classical Free-Reed, Inc.
Date: Fri, 18 Jun 1999 00:17:03 +0000
From: Bernd Kammerer -- mubomail@t-online.de
Subject: Fine!
From: sparklingbeatnik@email.msn.com (Phil James)
Subject: tuning Indian harmonium
Phil James
The Classical Free-Reed, Inc.
Subject: newly acquired organ
Reneé Curtis
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From: moutten@trail.com (Mary Outten)
Subject: Ponchielli
Santa Fe, New Mexico
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From: Martins -- justmartins@mail.telepac.pt
Subject: Performers directory
Octavio Martins
Henry Doktorski, founder
The Classical Free-Reed, Inc.
From: Sam Pirt -- sampirt@folkmusic.freeserve.co.uk
Subject: I need help
Erviti
San Martin, 28
20005 San Sebastian
Royal Academy of Music
Marylbone Road
London NW15HT
tel: 0171-873 7381
NAPIER UNIVERSITY
219 Colinton Road
Edinburgh EH14 1DJ
The Classical Free-Reed, Inc.
From: ROBERT WARNER -- r.t.warner@worldnet.att.net
Subject: CARPAL TUNNEL PROBLEMS
REPLY:
The Classical Free-Reed, Inc.
Date: Tue, 20 Apr 1999 00:18:49 +0200
From: hlefever -- hlefever@stego.gent.online.be
Subject: harmonium
Herman Lefever
Hlefever@pop3.antw.online.be
REPLY:
From: "Berta, Robert" -- RKB4@pge.com
Subject: Concert review.
From: Zubytskyy Volodymyr -- psfb9qgo@tellnet.pesaro.ps.it
Vladimir
From: Toni Meekins -- tonigil@sylvaninfo.net
From: John Bispala -- n0egg@worldnet.att.net
Subject: TNX RE: Ahvenainen
(612) 588-4411
4107 Fremont Ave. N.
Minneapolis, MN 55412
The Classical Free-Reed, Inc.
From: Bill Palmer -- bill@billpalmer.com
Subject: Re: Dr. Willard Palmer's Home Page
AAFOUF #00084
From: Ari-Matti Saira -- amsprod@sci.fi
Subject: Finland news
Ari-Matti Saira
The Classical Free-Reed, Inc.
From: Gary Gillespie -- garygill@uswest.net
Subject: HARMONICA IN HISTORY AND PIONEER REFERENCES
Gary Gillespie
The Classical Free-Reed, Inc.
From: renato vista -- renato.vista@excite.fr
Subject: "Classical Accordion" by Geir DRAUGSVOLL
Regards,
Renato VISTA
The Classical Free-Reed, Inc.
From: Toni Meekins -- tonigil@sylvaninfo.net
Subject: Electronium
From: Douglas J. Cumming -- cummingd@netcom.ca
Subject: Andrew Huggett
http://www.interlog.com/~jpetric/CDRev.html
I'm sure that Joe Petric will add this to his page, in time.
Ottawa, Canada
From: eryk.eisenberg@excite.com
Christian
Lab. fuer Anorg. Chemie tel (+41) 1/ 632 2894
ETH Zentrum CAB B17 fax (+41) 1/ 632 1149
Universitaetstrasse 6 e-mail mensing@inorg.chem.ethz.ch
CH 8092 Zuerich http://www.inorg.chem.ethz.ch/group/mensing
From: flutist@webtv.net
Subject: Question re Lilly article
Lewis University
Romeoville, IL
The Classical Free-Reed, Inc.
Date: Wed, 20 Jan 1999 19:41:10 -0600
From: James Cottingham -- JCOTTING@coe.edu
To: flutist@webtv.net
Subject: What instrument do I have? -Reply
From: flutist@webtv.net
Subject: The reply from Terry Miller!
Date: Fri, 22 Jan 1999 12:38:15 EST
From: TMiller666@aol.com
To: flutist@webtv.net
Subject: Mystery Instrument
From: Leon and Lee Zukowski -- lleonz@innet.com
To: The Classical Free-Reed
Subject: Re: Nina and Lena CD
From: Dr.Scheibenreif -- herbert@accordion-cd.co.at
Subject: Best wishes for 1999!
Schönaugasse 17/I
8010 Graz
Tel: +43-316-835967
Mosern 17
9433 St. Andrä
Tel: +43-4355-3318
From: DOKTORS9549@duq3b.cc.duq.edu (Doktorski Henry)
Date: 1999/01/05
Newsgroups: rec.music.makers.squeezebox
Newsgroups: rec.music.makers.squeezebox
Subject: The Decline of The Accordion
Date: Tue, 05 Jan 1999 06:07:13 GMT
Readers' Letters 1997 & 1998
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