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Accordion planet

ImageA marginal, little used instrument, at least in jazz, the accordion is nevertheless able to imitate keyboard instruments; it can also be considered to be a wind instrument, thanks to its "bellows".

 

 

by Giovanni Greto

 

Starting in the mid-1980s, it began to attract attention, thanks above all to a Frenchman from Nice who succeeded in restoring dignity to this instrument. Richard Galliano burst out on the scene with a highly original fusion between the musetto, a typically Transalpine musical genre, which originally indicated the French reed-pipes, invented in the 18th century by court musicians with the scope of providing a pastoral instrument, suited to the Arcadian mode of that era, with the New Tango of Astor Piazzola (with whom he studied bandoneon technique), swing and ultra-modern jazz. All this is accompanied by a chromatic taste which reminds us of
Debussy and Ravel's Impressionism.

 

ImageWhen Richard Galliano performs, whether with typical jazz bands, or in complete solitude, we become aware of how the accordion, in his hands, acquires the polychrome profundity of an orchestra; or more intimate tones, deriving from chamber music. Among his numerous recordings, we remember one with special pleasure: Chanson, made in 1994 for Padua's Galarecords, a label which unfortunately has almost disappeared, along with three magnificent Italian musicians: Enrico Rava at the trumpet, Rita Marcotulli at the piano and Enzo Pietropaoli at the double bass. Rava's lyricism found a mate in Galliano's melancholy timbres. Galliano has composed two brief works, Giselle and the finale Spleen, which truly stir up the emotions. [Tr. Maria Fasolo]

 

 

Richard Galliano & Solis String Quartet
12 February Teatro Toniolo-Mestre (Ve)
www.culturaspettacolovenezia.it