Glowacki's performance again brought out the organ-like possibilities of the accordion a sustained and rather contemplative account of the work. The middle section was a contrasting melody, rather evocative, played on the LH alone.Īrvo Pärt (born 1935) wrote Pari Intervallo on the death of a friend. His Flight beyond time is a virtuoso accordion solo which started Flight of the Bumble Bee like, with Glowacki demonstrating impressive finger-work in both hands, so fast that the clicking of the keys formed a counterpoint to the music. Petri Makkonen (born 1967) is a Finnish accordionist, composer and teacher. A rather wonderful piece with a very specific sound-world. Using a sound-world full of jagged edges, the music developed more toccata-like in the central section before the opening fragments returned, and developed again into something more complex. Starting with just fragments and interestingly rhythmic snatches the work was rather spare, melancholy and thoughtful. Glowacki read the poem first, before playing the work. The work is based on a poem by the Australian poet and activist Wendy Poussard. Yuji Takahashi (born 1938) is a Japanese composer, he was also an activist and his accordion piece Like a Water Buffalo was written in 1985 arising out of protest against the military dictatorship in Thailand. The result was rather compelling and intense (see the video at the bottom of this review, recorded by Glowacki in Aldeburgh). Opening in a gently sustained way, utilising the accordion's ability to sound organ-like, the work built in intensity whilst taking advantage of the instrument's facility both to play large chords and to change character quickly. Trojan wrote the work in response to seeing the destruction in Dresden. The work was written in 1958 and is an early example of contemporary writing for the accordion. Next followed The Destroyed Cathedral by the Czech composer Vaclav Trojan (1907-1983), perhaps best known for his film scores. It was an interesting new sound-world, and a remarkably successful transposition of the music. The Domenico Scarlatti sonatas provided a nicely contrasting pair with the gentle Sonata in A major having wandering melody in the RH with more sustained chords in the left, whilst the Sonata in E minor required some really nifty finger-work in both hands. He also introduced the instrument itself, sketching in a little of its history and explaining how the free bass system enabled the playing of polyphonic music with the left hand. In between the items Glowacki introduced the music, some of the pieces are relatively unknown to audiences but represent important milestones in accordion music. 3 to end with Astor Piazzolla's Libertango. His imaginative programme started with a pair of Domenico Scarlatti sonatas, and then moved through Vaclav Trojan's Destroyed Cathedral, Yuji Takahashi's Like a Water Buffalo, Petri Makk onen's Flight Beyond Time, Arvo Pärt's Pari Intervallo, and the third movement of Vladislav Zolotaryov's Sonata no. I caught the lunchtime recital by Polish accordion player Bartosz Glowacki on Thursday 28 July 2016. The City Music Foundation is presenting all of its current artists in a week long residency at the Wallace Collection, with a recital by a different artist or ensemble each day. Scarlatti, Trojan, Takahashi, Makkonen, Pärt, Zolotaryov, Piazzolla Bartosz Glowacki City Music Foundation at the Wallace CollectionĬontemporary music for accordion and transcriptions in an imaginative programme
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