The Accordion in the 19th Century - Gorka Hermosa

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certain that the level of interpretation must have been praiseworthy compared to the poor standards of the accordion performers at the time. [127, 238, 283, 414] The first known original work for accordion, was the Thème très varié by Louise Reisner, which had its premiere in 1836 at the Hotel de Ville in Paris interpreted by Louise herself. This work has a virtuous romantic style, very much in consonance with the fashionable esthetical taste of the time. Louise Reisner also gave concerts in Musard, in the Jardin Turc and had some articles in Le Menestral and La France Musicale, reporting that she had a great musical success at the concert halls of Cluesman (1838) and Salle Viviente (1839)… She also gave domiciliary private lessons using her father’s method (A. Reisner’s first method was first published in 1832). Her father was also the first accordion teacher whose name appeared in the media apart from being a noted accordion maker. [40, 49, 60, 95, 114, 162, 164, 165, 166, 167, 168, 202, 204, 383, 389, 405] Fig. 85: Louise Reisner 161 . There were not many composers who wrote for the accordion in the 19 th c.; nevertheless, we can document two noteworthy exceptions: - Russian Piotr Illich Tchaikovsky (1840-1893) included in 1883 four optional diatonic accordions in his Orchestral Suite No. 2 in C major, op. 53, in the third of its six movements (Scherzo burlesque). Tchaikovsky spent “three nice moths”, as he said, in his brother’s cottage and to show his gratitude he dedicated this countrysideflavored work to his brother’s wife. It was premiered in 1884 in Moscow and conducted by M. Erdmansderfer. This work is peculiar in Tchaikovsky’s production, since it contrasts the lyric imagination, the awakening from dream and the racy grotesque flavors. The third movement is fast and brisk. The accordions play the main theme, contributing to the orchestral color, becoming a metaphor of the gayety of Russian peasantry. [14, 29, 67, 68, 116, 145, 172] Fig. 86: Piotr Illich Tchaikovski 162 . - Italian Umberto Giordano (1867-1948) included a diatonic accordion in Fedora, one of his best-known operas, in 1898. It was premiered at Teatro Lirico of Milan in 1898. The accordion comes out three times at the opening of the fourth scene (La Montanina mia, dio di giustizia) of the third and last act (which takes place in Switzerland), to accompany, for about 40 seconds, along with a piccolo flute and a triangle, a simple short song of traditional ambience sung by the character Savoyard the Alpine shepherd. The accordion used is the diatonic one and the original score denominates it fisarmonica. During the 27 bars in which it intervenes, it only performs two alternating sharp chords (9ª dominant and tonic), another example of the limited expressivity attributed to the accordion in that period. This work has been interpreted by celebrated tenors like Enrico Caruso, José Carreras, Plácido Domingo… [72, 352, 418] Fig. 87: Umberto Giordano 163 . 161 Fig. taken from: Gervasoni [96] page 38. Collection Marcel Azzolla. Photograph by Didier Virot. 162 Fig. taken from: http://historiadelarteylamusica.blogspot.com/ 163 Fig. taken from: http://www.manganofoggia.it/giordano.htm 37
According to Monichon [202] and Billard-Roussin [40], Mihail Glinka included the accordion in his opera Russlan and Ludmilla in 1842. It is not true. The mistake must have been caused by the fact that one of the characters in that opera is the bard called Bayan, which is interpreted by a tenor. Let us see next, some examples of accordion note writing from the 19 th c.: Fig. 88: “Thème varié très brillant” by Reisner (extract) 164 . Fig. 89: “Soldier’s joy” (extract) from “The Complete Preceptor for the accordeon” by Elias Howe 165 . Fig. 90: Study No. 14 “Polka” (extract) from “Método completo teórico-práctico de acordeón” by Antonio López Almagro (1876) 166 . Fig. 91: “Orchestral Suite No. 2 in C major, op. 53: 3 rd movement” (Tchaikovsky), Extract from accordion`s part (1884) 167 . Fig. 92: Lucia de Lammermoor (Donizetti) d “Gran Método práctico para acordeón” by Pérez (1887) 168 . 164 Fig. taken from: Gervasoni [96] page 39. 165 Fig. taken from: Howe [125] page 39 166 Fig. taken from: Almagro [175] page 38 167 Published by P.I. Jurgenson in 1884. Fig. taken from: http://www.ksanti.net/free-reed/ 168 Fig. taken from: Pérez [214] page 35. 38
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Page 6 and 7: FOREWORD By Prof. Dr. Helmut C. Jac
Page 8: INTRODUCTION This book tries to dis
Page 11 and 12: I.1- Appearance of the free reed in
Page 13 and 14: klut or dding-pi. The first free re
Page 15 and 16: In 1575 27 Roll invented the Bibelr
Page 17 and 18: Fig. 22: Illustration by Mersenne (
Page 19 and 20: In 1780 Kratzenstein built, along w
Page 21 and 22: • Melodica: patented in 1890 by M
Page 23 and 24: II.1.2- Comments on the invention o
Page 25 and 26: II.2- Organologic evolution of the
Page 27 and 28: II.2.4- Accordion with registers In
Page 29 and 30: The disposition of that unisonoric
Page 31 and 32: II.2.10- Added basses accordion Som
Page 33 and 34: Fig. 78: Chart representing the sal
Page 35 and 36: III.2- The diatonic accordion in th
Page 37: Fig. 83: Müller’s method (Vienna
Page 41 and 42: In 1898 he published an autobiograp
Page 43 and 44: FRANCE: Apart from the music inside
Page 45 and 46: several of his paintings: Acordeoni
Page 47 and 48: entitled Accordion Essay: The Touch
Page 49 and 50: As a summary of the situation of th
Page 51 and 52: III.3- The concertina in the 19 th
Page 53 and 54: • Bernhard Molique (1802-1869) wa
Page 55 and 56: The concertos for concertina and or
Page 57 and 58: The first internationally acknowled
Page 59 and 60: Fig. 139: Extract from “Schlachtl
Page 61 and 62: 403] Fig. 143: Extract from “Duo
Page 63 and 64: Fig. 148: Extract from Landsighting
Page 65 and 66: Let us analyze below the most impor
Page 67 and 68: In the 1850s he composed several ps
Page 69 and 70: Austrian composer Johann Strauss jr
Page 71 and 72: information. [66, 146, 219, 348] Ed
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Page 77 and 78: ANNEX II: REPERTOIRE LIST FOR HARMO
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Mahler, Gustav (1860-1911) Penderec
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Korngold, Erich Wolfgang (1897-1957
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Vierne, Louis (1870-1937) Webern, A
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42 BOCCOSI, Bio & PANCIONI, Attilio
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117 HEYMANN, Alfred: “La guimbard
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195 MILLER, Terry E. & SHAHRIARI, A
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100 277 VIELE, Chase (1997): “Whe
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102 390 “Leonardo da Vinci” (20
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The Accordion in the 19th Century - Gorka Hermosa

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