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Map2 PDF
Map2 PDF
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MODERN
solo ACCORDION PERSPECTIVES #2
works
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edited by
Claudio Jacomucci
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MODERN ACCORDION PERSPECTIVES #2
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Scientific committee:
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MODERN ACCORDION PERSPECTIVES #2
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Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Editor’s note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
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MODERN ACCORDION PERSPECTIVES #2
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Introduction
Few years ago I invited a number of renowned accordionists and young talents to
write their considerations on the recent developments of the classical accordion literature,
pedagogy and its artistic, professional perspectives. A collection of articles and interviews
entitled Modern Accordion Perspectives was published in 2013 and an international meeting
was held in Castelfidardo in the same year to point out the conclusions of those papers. It
was one of the rare occasions of this kind where highly experienced and professional
musicians could share their knowledge and work independently from associations, societies
and competition’s jury boards. During this meeting it became clear that there is a big gap
between the extremely rich literature composed for/with our instrument in the last 20
years and the anachronistic and partial programs of academic studies and competitions,
between the huge variety of performing projects existing and the lack of vision and
creativity of the average accordionist in presenting him/herself on the professional scene.
We all agreed on the fact that the lack of information (or the excess of undefined
information) could be one of the causes of this stagnation.
In the past, the accordion community was promptly informed when the pioneers of
contemporary accordion literature wrote a new and innovative work for accordion (let us
think about composers such as Lundquist, Nordheim, Zolotaryov, Gubaidulina, Tiensuu,
Krzanowski or Kagel). Nowadays it is almost impossible to know what is going on on a
international scale and we don’t realize how big is the portion of important original
literature that we actually do not know. Moreover, many accordionists don’t realize that the
composers and pieces they usually consider to be “masterworks” are absolutely irrelevant for
the majority of festival’s and concert season’s directors, critics, musicians and composers. On
the other hand, it is also true that there are also many botched contemporary compositions
which don’t survive their premiere.
For this reason we thought that it was the time for a reflection upon the cooperation
between performers and composers during the period 1990-2010 and we have asked a
great number of professional accordionists involved in performing new music on a
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MODERN ACCORDION PERSPECTIVES #2
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international scale to make a critical selection of the works they have been commissioning
and premiering. A performer has a great knowledge of a composition because he analyzes
its structures and deals with performing issues every time he commissions, premieres, and
plays it; he also feels its communicative force on his skin, in real time, while playing the
piece.Very often the performer also teaches it to his students. We can say without any doubt
that a performer normally spends much more time studying a work than the composers
himself and therefore he can truly say if a composition turned out well or not.
Not all participants agreed with being very selective, some felt the need of including
a larger number of compositions. The diversity of thought of the musicians taking part to
this project has lead to a selection of works with a wide range of aesthetics and styles:
serialist, neoclassical, post-romantic, spectral, microtonal, minimalist, impressionist, post-
modern, traditional/folk/jazz influenced music, electronics and multimedia.
Although from a musicological point of view this project may appear pretentious—
for it wants to anticipate and accelerate the process of natural selection that only the course
of time may establish—we must not forget the importance of encouraging accordionists and
teachers to spread their knowledge on the wide horizon of the original accordion music, as
it may enrich their repertoire and therefore provide them with a new and heterogeneous
material so that they may be able to relate to the music world with more attractive projects,
indeed more appropriate to the time in which we live.
Claudio Jacomucci
July 2014
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MODERN ACCORDION PERSPECTIVES #2
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Editor’s note
Abbreviations
acc (accordion), vl (violin), vla (viola), vlc (violoncello), db (double bass), fl (flute), cl
(clarinet), ob (oboe), tr (trumpet), trb (trombone), rec (recorder), per (percussion), mar
(marimba), vibr (vibraphone), guit (guitar), sax (saxophone), instr (instrument), band
(bandoneón)
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MODERN ACCORDION PERSPECTIVES #2
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Contributors
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accordion solo works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 accordion solo works
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accordion solo works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 accordion solo works
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César Camarero (Spain) Bernard De Vienne (France)
Luz Azul (1998) Accore (2001)
(Castaño) (Bonnay)
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accordion solo works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 accordion solo works
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Claudio Jacomucci (Italy) John King (USA)
Tarantolata (2010) All Together Now (1990)
(Jacomucci) (Klucevsek)
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accordion solo works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 accordion solo works
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Dana McCormick (USA) Jan Meisl (Czech Republic)
Remember When...? (2009) The Beetledrive, Op. 11 (2001)
(Venglevski) (Meisl)
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accordion solo works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 accordion solo works
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Kasper Rofelt (Denmark) Alessandro Sbordoni (Italy)
Concert studies (2008-2009) Meine Freud (2007)
(Mogensen) (Scurti)
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accordion solo works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 accordion solo works
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Olli Virtaperko (Finland)
Pirun keuhkot (‘The Devil’s Lungs’, 2005)
(Kujala)
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accordion solo works with electronics MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 accordion solo works with electronics
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accordion solo works with electronics MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 accordion solo works with electronics
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Marc Monnet (France) Charlotte Seither (Germany)
Premier regard (2001) Inventaire de départ (2006)
(Contet) acc, live electronics
(Kern)
Ramūnas Motiekaitis (Lithuania)
Sur-rounded (2005) André Serre-Milan (France)
acc, tape 3 rêves (1998)
(Sviackevicius) (Contet)
Corrado Rojac (Italy)
Kafkiana III (2006)
acc, live electronics
(Rojac)
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chamber music works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 chamber music works
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chamber music works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 chamber music works
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Patrick Busseuil (France) Omar Daniel (Canada)
Heroic Fantasy (1996) Sextett (1998)
acc, perc acc, db, 2 perc, harp
(Bonnay) (Macerollo)
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chamber music works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 chamber music works
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Dai Fujikura (Japan) Altay Gökce (Turkey)
Broken Shakle (2001) Perpetuum Mobile (2009)
acc, bass cl acc, vla
(Watson) (Kassl)
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chamber music works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 chamber music works
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Jouni Kaipainen (Finland) Hanna Kulenty (Poland)
Elemental Chanting (2009) Praeludium, postludium and psalm (2007)
acc, vlc acc, vlc
(Rantanen) (Kubit)
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chamber music works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 chamber music works
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Jan Meisl (Czech Republic) Matthias Müller (Switzerland)
Blind Angels, Op. 30a (2008) Ikarus (2006-2007)
ob, acc acc, fl, cl, perc, computer, live-electronics
(Meisl) (Tchirkov)
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chamber music works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 chamber music works
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Efrem Podgaits (Russia) Bronisław Kazimierz Przybylski (Poland)
Cocktail «Rio Rita» (2009) Autumn Multipaly (2000)
acc, vl, piano, vlc, perc vlc, acc
(Lips) (Rosinska)
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chamber music works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 chamber music works
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Domingo J. Sanchez (Spain) Tatjana Sergejeva (Russia)
Cuarteto (1996) Dunkelrote Rose (2001)
acc, string trio acc, vl, piano, vlc, perc
(Castaño) (Lips)
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chamber music works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 chamber music works
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Jan Truhlář (Czech Republic) Rolf Wallin (Norway)
Sentence (2002) Phonotope II (2003)
acc, string quartet sax, acc, db, electronics
(Horák) (Haltli)
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chamber music works MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 works for accordion ensemble
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works for accordion ensemble MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 works for accordion ensemble
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works for accordion ensemble MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 works for accordion ensemble
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Klaus Ib Jørgensen (Denmark) Anders Monrad (Denmark)
Kommos (1992) Satan Oscillate my metallic sonatas, palindrome
2 acc (2007)
(Draugsvoll) 2 acc
(Mogensen)
Shigeru Kan-No (Japan)
Concerto Grosso III (1996) Motion Trio (Poland)
acc ensemble D.J. Chicken (2007)
(Bodewitz) (Motion Trio)
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works for accordion ensemble MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 works for accordion ensemble
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Janusz Wojtarowicz (Poland)
Proms (2007)
3 acc
(Motion Trio)
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works for solo accordion and orchestra MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 works for solo accordion and orchestra
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works for solo accordion and orchestra MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 works for solo accordion and orchestra
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Sofia Gubaidulina (Russia) Klaus Ib Jørgensen (Denmark)
Fachwerk (2009) Temperature (1993)
acc, string orchestra, perc acc solo, sinfonietta
(Draugsvoll) (Draugsvoll)
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works for solo accordion and orchestra MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 works for solo accordion and orchestra
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Rolf Riehm (Germany) Anatolijus Senderovas (Lithuania)
Rebulding the Death of Orpheus (2001) Ad Astra (2008)
acc, orchestra acc, symphony orchestra
(Anzellotti) (Draugsvoll)
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works for solo accordion and orchestra MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 works for more soloists and orchestra
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works for more soloists and orchestra MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 works for more soloists and orchestra
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works for more soloists and orchestra MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 works for more soloists and orchestra
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Olli Virtaperko (Finland)
Calvino’s Five Words (2008-2010)
acc, vlc, orchestra
(Kujala)
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works for ensemble with accordion(s) MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 works for ensemble with accordion(s)
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works for ensemble with accordion(s) MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 works for ensemble with accordion(s)
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Sandro Gorli (Italy) Hope Lee (Canada)
Una lettera (2010) Voices in Time (1994)
ensemble chamber ensemble with acc, tape, electronics
(Rojac) (Macerollo)
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works for ensemble with accordion(s) MODERN ACCORDION PERSPECTIVES #2
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multimedia with accordion(s) MODERN ACCORDION PERSPECTIVES #2
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MULTIMEDIA WORKS
WITH ACCORDION(S)
[opera, dance, theatre, puppet theatre, video, poetry, electronics]
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MODERN ACCORDION PERSPECTIVES #2 multimedia with accordion(s)
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multimedia with accordion(s) MODERN ACCORDION PERSPECTIVES #2
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MODERN ACCORDION PERSPECTIVES #2 multimedia with accordion(s)
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Jonathan Pontier (France)
Têtes pansues (2004), petit opéra
cl, tuba, acc
(Brégant)
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