PITTSBURGH MAGAZINE
Pittsburgh, Pennsylvania
Squeezing Outside the Box
This is a fascinating CD. Henry Doktorski's California Accordion Recitals (self-release) features 27 solo live recordings on a free-bass concert accordion (both hands are melodically independent). Doktorski performs a number of classical pieces, including Handel's Suite for a Musical Clock, and selections from Schumann and Johannes Brahms. He also plays George Gershwin's Three Preludes as well as pieces, both classical and popular, written specifically for the instrument.
I was struck by the beautiful sound of this under-appreciated instrument and how the melodies of these pieces were able to breath and unfold so profoundly. I had never realized that there was even a genre of classical accordion before hearing this CD, but I'm looking forward to hearing more.
-- Philip Harris
THE FREE-REED REVIEW
The Classical Free-Reed, Inc.
When Henry Doktorski agreed to perform four recitals in California this year (2002), he decided to combine some of the content of two forthcoming CDs, Classical Accordion Classics and Vaudeville Classics. The titles are self-explanatory and the list of selections indicate the nature of the music. Also included on the CD was a world premiere of a piece written especially for Henry by the composer Alan Hovhaness, Hymn.
Henry has a genuine feeling for Baroque music and his performance of the Handel Suite for a Musical Clock is excellent; he plays it with a clean, clear and singing quality. The Air is particularly beautiful. The Suite may represent his best work on this CD and is comparable to the work of an outstanding specialist in Baroque like Øivind Farmen.
Henry definitely evidences a talent for modern works -- and not to make unfair comparisons -- it is interesting that Glenn Gould similarly had an affinity for baroque and modernity (at least, Schoenberg, Bartok, Krenek, Hindemith, Prokofiev, etc.). Gershwin's Three Preludes can't really be considered that modern in the sense of today's new music, or even the five previous listed composers, but they're good works; interesting miniatures that contain insightful excursions into Gershwin's less popular thinking. You might say they're images of Gershwin's take on synthesizing jazz and keyboard composition in a classical vein, similar to his take on jazz and composing for an orchestra and piano in Rhapsody in Blue.
The final prelude has an aura of a "Jazz Age Big City" cityscape and Henry catches the pace and contrast nicely. I'm glad he performed these Gershwin miniatures and he interprets them nicely without the advantage of dozens of other accordion performances to inform; pianists can hear Chopin played by thousands of others and seek a well- worn rut or do a 180 on the rut and deliver "their own" interpretation. Henry's interpretive choices on the Gershwin preludes are his own and they're tasty and insightful.
Henry's performance of Alan Hovhaness' brief Suite for Accordion is very good, his execution clean. The Solene movement is like a chant, almost Gregorian at times, with bass and treble playing in contrasting keys. The Presto is quasi baroque and Henry is in his element -- excellent, but over too soon. The Allegro Vivo seems to intentionally evoke a bagpipe with a hint of Middle Eastern quartertones. The composer's Hymn, which was written for Henry, interestingly toys with the Dies Irae theme. It's not a major work, but as a concept for the accordion it's effective and played quite well. Henry's breath control is good; neither Hovhaness nor any listener could ask for more.
Henry plays Piazzolla's Oblivion with a fine sense of lyricism. His opening run at 44 seconds is lovely (& even better at 3:49 ff.) and equally nice each time on its repeat. It's amazing how a few notes can jump out at a listener. I played the CD for others and they all perked up on the run and said, "That's lovely; he did something there." What is it when something like that happens? Was there a connection between the player and something beyond -- within? An insight, an intuition -- maybe something unconscious and Henry doesn't even know what we're talking about -- but it can happen in even a few notes and it did here. The contrasting B section is energetic and well played. Henry feels the piece deeply and conveys his complex feelings of despair, hope and reconciliation -- a neurasthenic triptych that Piazzolla felt deeply.
I like Henry's own composition, Rondo Polska; it's a literal scherzo, or joke. Henry is having fun with a simple three-note theme and the many ways he can topsy-turvy it. It's rare that we have humor expressed in accordion music; this is a light, pleasant example.
Guido Deiro's compositions are perfect examples of music from the Golden Age of Vaudeville, as well as being worthy in their own right -- however, keep in mind that they're purposely showy, extroverted romps directed at a listener's senses in a generally cheerful, jazzy, assaultive manner. Above all, Vaudeville was a show; it was a medium in which a player had to capture and hold a large, not always attentive audience's interest. The longer and more intensely a person could enthrall his listeners and transform them into a single, pulsating organism, was what determined who became a headliner -- the one who drew the crowds. Guido Deiro, among all the pianists, trumpeters, clowns, dancers, jugglers, comics, singers and animal acts, shone as one of the brightest stars on the circuit -- and he was a man alone on stage with a simple, acoustic accordion -- nothing more; and it put him on the theater marquis, at the top of the bill, the unquestioned headliner, a star; he could go by one name: Deiro!
With Henry's rendition of I Don't Care Polka I could almost see Deiro striding around the stage. Henry gave me a sense of the times here -- energy, excitement; adrenalin had to kick in or the accordion player would be booed off the stage: addio being a headliner, double addio making $6oo a week. I think the performer had to go on stage with a sense of, "It's the top of the ninth, two out, tie game; World Series on the line -- I've got to swing for the fences." Vaudeville was big time, big money and big competition. Dozens of acts were waiting in the wings to roll over the headliner and piss on his grave if he didn't bring down the house.
The final piece and obvious "big number" is Egypto Fantasia and it's Henry's strongest rendition of a Deiro composition. Of all the pieces it's the most classical -- and it certainly would be connected in the popular imagination of the times with the exciting, exotic discoveries happening in Egypt. Remember, throughout the nineteenth century right up to 1922 when Howard Carter and the Earl of Carnarvon discovered King Tutankhamen's tomb -- even continuing today -- tombs were unearthed and scholars were publishing the results of translations from hieroglyphic texts. The Rosetta Stone had been discovered in 1799 (it was a tablet with Greek, Demotic and hieroglyphic inscriptions elucidating the same text). Scholars had been bringing out studies throughout the nineteenth, early twentieth century and Egyptian motifs were found everywhere including the décor of many of the theaters in which vaudeville shows took place. Deiro beautifully played upon the popular imagination for things exotic with his Fantasia -- the piece is potent enough that when the ending theme enters I've no doubt a modern audience would instantly think of Lawrence of Arabia. The Fantasia is a virtuoso number that sets a scene and Henry paints it very well.
Henry has given us an eclectic CD and the overall achievement is quite high. It's a generous offering at 74:10 minutes and he interestingly sustains much of it. Many anthologies are more like auditions for the artist than albums, but I think Henry put the music first; he presented things he liked and wanted to bring to our intention, worthy pieces that ought to be heard and he did so in a forthright manner. In a lot of ways, the disparity of the selections gives the CD a lively, spontaneous feeling and delivers a solid sense of fun. -- Dr. Paul Allan Magistretti
FORTNIGHTLY CD REVIEWS
Accordions Worldwide
This CD contains recordings made last year for a Californian concert tour, July 26 to 29 in the USA, the home of Henry Doktorski. The original recordings were made in a recording studio, to be sold at the California Recitals of Doktorski, and therefore are not a live performance.
The program consists of transcriptions as well as originals. Amongst the transcriptions to be especially noticed is the "Suite for a Musical Clock" by Händel; this suite of 6 movements makes everybody conscious of Doktorski's baroque sonority and mature taste, established over years of historical-musicological studies.
Aditional to this transcription are others that could be defined as "appropriate" chosen pieces to be enjoyed by the public such as Träumerei of Schumann, Hungarian Dance No. 5 of Brahms and the personal arrangement of Oblivion by Piazzolla.
Another transcription "dangerous" is the one of the Three Preludes for piano by Gershwin. A very difficult transcription to convey, even wanting to grant great admiration to all Americans for this outstanding composer.
On the plan of the original works, the album acquires fully its value and profoundness. A brilliant circle that presents Doktorski in the double dress as a composer and performer (Rondo Polska); the two works of greatest importance are "Suite Op. 166" (about 1959) and "Hymn" by the great American composer of Armenian-Scottish origin, Alan Scott Hovhaness.
"Hymn" was written for Doktorski, who is presenting here a very expressive demonstration, characteristic of this accordionist that emerges always in the most melodic and expressive passages.
To fully understand the value of the execution of the "Ten Vaudeville Classics" of Guido Deiro, one needs to entirely capture its historical value: without wanting to " touch" the diatribe between the two brothers Deiro (Guido and Pietro) the honor for having first imported and introduced the accordion to the United States. I find it most interesting to remember the great reality of the "Vaudeville" at the beginning of the 1900's.
This taking of the name Vaudeville, a term that pointed out the kind of particularly theatrical style, would be to compare what is called in Italy "variety", with a kind of entertaining show. Concerning Guido Deiro, and after him many others, who began with Vaudeville and then helped lead the accordion in the USA to enjoy important success and enormous popularity for quite some period.
Amongst the " Ten Vaudeville Classics" you will find marches [mazurke], polka, waltz, touch, imaginations etc. Finally I would like to add, that the road of success for the accordion in USA was due to accordion pieces of this kind and to underline the figure of Doktorski as a studious researcher of the accordion. His book "The classical squeezebox" deserves to be read by a great number of researchers and impassioned accordion enthusiasts all over the world.
-- Paolo Picchio
Castelfidardo, Italy
ROBERT KUBACKI
Pittsburgh, Pennsylvania
It was spectacular. You did a fabulous job of playing. Your playing was beautiful, and just so sublime. You have quite a virtuosity in terms of technique, and a wonderful touch that the beauty of the music really comes through as each of the composers intended it. It was delightful.
ROGER MERRICK
Birmingham, United Kingdom
I have now played your CD and I'm very impressed. Obviously my main interest is the Hovhaness, and they are extremely interesting, being quite different in style from other Hovhaness solo instrument work that I've heard. The Gershwin arrangements are lovely, and indeed, the whole CD is a very enjoyable experience.
STEVE YOOL
Accordion Club of Tucson
Tucson, Arizona
Enjoyed your reading of the Hovhaness Presto! Like you, I also have an affinity for Hovhaness because 1) his music has wonderful modulations and tempi; and 2) he and my father passed away on the same day, same year. I love his orchestral works and, while at Tucson's Folk Shop, I pulled out of a cardboard box a yellowed copy of his Suite for Accordion. I am now working on the Suite, and appreciated hearing from your online sound file how it should sound.
ROGER NIGHTINGALE, Secretary
Waikato Accordion Club
Te Awamutu, New Zealand
I was amazed at the quality and sheer brilliance of the music, and your very fine, clear and spirited playing, including the shadings between 'pp' and 'ff'. I believe that if more people had the opportunity of hearing music like this, and playing like this, the accordion could become very popular again. Especially for music for which it is best suited.
PAUL JOHNSTON
WQED-FM
Pittsburgh, Pennsylvania
Man, this is a good one. I like it sonically, too--the reverb is tasteful, doesn't sound fake. And, wow, the playing is cool right out the starting gate with the Handel pieces. I'm going to try to get some of it put on the WQED-FM Arts Magazine broadcast this Sunday. I'll definitely put it on my daily show as well as on my weekly Performance in Pittsburgh show. Good stuff, Henry.
MARDY EISLOEFFEL
Belleville, Illinois
Dear Mr. Doktorski,
My mom bought me your "California Recitals" disk for Christmas, and I LOVE it!
I have played accordion since age 6 (in 1956) -- took lessons for 10 years, played in various ensembles, etc., but majored in English and teach developmental (remedial) reading & writing at our local 2-year college.
I still play now and then and have PROFOUND respect for those such as yourself who do it WELL. I especially loved the Guido Deiro numbers ("Queen of the Air" really rocks). Enclosed find an order for another "California Recitals" CD, plus "A Classical Christmas," "Rhapsody In Blue," "Suite on Four Polish Carols" CDs and "The Classical Squeezebox" article reprint.
RON COLE
San Francisco, California
I recently purchased your California Recitals CD and just wanted to let
you know that I thought it is great! I appreciate the effort you put in and
the talent that you have to put out such a great collection of works.
Thanks for sharing your talent and hope to hear that you will be playing in
California again soon.
JOHN LOMBARD
London, England
The c.d. arrived here this morning, thanks.
I put the Deiro part on {here in the office} Everyone that heard it said it transported them to Italy {a few mentioned Naples}.So there --------- ! !
SETH HICKEL, President
Carolina Accordionists Association
Mr. Doktorski,
I spent some time on your web site this evening. I am so impressed by the quality of your recordings and your playing. I hope someday that I might hear you in person. In the interim, I plan on ordering some of your CD's for myself and others as gifts.
Take care.
MARVIN ROSEN
Bensalem, Pennsylvania
Dear Henry,
Wanted to let you know that I have received your California Accordion Recitals and Suite on Four Polish Carols CDs and have already enjoyed them tremendously. In fact, this Wednesday morning, October 2, I will be playing 3 pieces from the Recitals disc on my radio show. Between the 7:00 and 8:00 AM hour I will be airing both the Hovhaness Suite and the Hymn written for you. At 8:26 I will be signing my show off with your delightful "Rondo Polska".
Thanks so much! I am really looking forward to playing music from the CD you sent me. If you want to listen on line you can at www.wprb.com
All best,
HåKAN WIDAR
Varberg, Sweden
Hello Henry!
Thank you for sending me your California Recitals cd. I have now listened to all of it. Your interpretations of the various types of music is really very find, very
"clear" and "smooth" playing.
Also the recordings of the Guido Deiro pieces are very fine, and a very fine
contribution to the preservation of his music - and the history of the
accordionmusic. Guido´s music was performed here in Sweden a lot back in the
1930ths and 40ths during many of the accordion competitions that took place
at that era of the accordion...
Kind regards
WENDY STANFORD
Lancaster, Massachusetts
This (California Accordion Recitals) has got to be the greatest accordion CD ever made, I think. I really think it's great and I'll be listening to it a lot!
BOB BERTA
Daly City, California
Henry,
Glad you had a good time in California during your July 2002 recital series....only wish I could have been there to attend one
of your four concerts. I did purchase your California Recitals CD and it is EXCELLENT....I will add
it to your Xmas and Gershwin CDs in my collection.
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