York, PA, More Than the Home of HD? July 15, 2010, Thursday

It has been a hectic time preparing for the upcoming trip to the ATG 70th Anniversary Celebration Santa Clara.  I think the older you get the longer it takes to prepare.  I remember sticking my accordion in its case, packing all my underwear around it (accomplishing two purposes), sticking some stuff in my suitcase - and it was off to the airport.  My, how times have changed.
I have mentioned many different people in both this blog and in the book (being published on this site).  Through Facebook and other social networking sites, there is a wealth of opportunities to connect with people all over the globe.

When I first came to New York I used to occasionally drive Julio up and down the East Coast - his time behind the wheel was quite limited.  He told me that he always wanted to drive like a race car driver and knew that would eventually be a disaster, either with the police or with a crash.  So I was the designated driver.   

A regular stop was in the area of York Pennsylvania, to visit Howard Eppenheimer.  Howard did a lot of work for Julio - especially with the electronic accordions.  I remembered him as a very kind and gentle person - the consummate gentleman.  For years I wondered what ever happened to Howard.  The other day I discovered a new Facebook friend had studied accordion with Howard's wife had remained friends with Howard up until he passed a couple years ago.  She is still good friends with his wife.  I hope she will share some of her personal stories with us in the coming months.

I have been home for the past few days getting ready for the ATG. I usually write the blogs during the commute from Fredericksburg, VA, to downtown Washington, DC.  So we are both getting a slight break.

However, barring anything short of a computer failure, I hope to be bring you up-to-date reports from the ATG in Santa Clara next week!
Stradella-fest and Other Decisions July 17, 2010, Saturday

I am in the final days of preparation for the ATG.  It should be an interesting time.  I am going to be playing an all stradella program featuring some of Galla-Rini's biggest hits.  I have the feeling some of these pieces will not have been played at an ATG event in a very long time; but as I have not been to an ATG event since 1979, that is purely speculation.  But given the 70th anniversary of the ATG and Galla-Rini's recognition both as President Emeritus and with this year's International Galla-Rini competition, I think it is appropriate to honor the man with some of his music that stands as a cornerstone in his contribution to accordion.

What may be even more ironic is that I have never played stradella at any ATG event, and the only stradella I did with Galla-Rini was in preparation for recording the complete works of Gregory Stone, which included some stradella pieces.  I had made the switch to bassetti two or three years previous to beginning to study with him in 1963, and after 1967 had all free-bassetti accordions with only the two fundamental rows from stradella that were used as pedal notes. 

But I must say I have had a great time relearning the system, and an even greater time regaining an appreciation for how well he wrote for that instrument.  Now all I have to do is decide exactly what I will play!

Galla-Rini also wrote some things for free bassetti - but I am saving those for another day.  And speaking of bassetti arrangements, as a closing note, I found another piece of manuscript in his hand.  In this one he had started to sketch out a section of the Liszt 19th.  What surprised me was that it was more like Gregory's manuscript - obviously not done with a ruler and at much quicker pace.
Before Rap Compton was known for Accordion Bands July 18, 2010, Saturday

I posted the second half of Chapter 1, In The Beginning from Personal Anecdotes.  I included a couple clips that I hope you find fun.  One is from Ted Mack and the Original Amateur Hour featuring the Compton Music Center's 'Hit Paraders', under the direction of Glen Stead.  Another clip is Art Van Damme's Meadowlands from a local TV performance in 1956.  The full stories are in the new chapter. 
ATG 70th, Santa Clara, California July 21 2010, Wednesday

After a full day of travel, we arrived last night at the ATG 70th Anniversary festivities here in Santa Clara.  It was extremely hot in Virginia yesterday - nearly 101 when we left the Richmond airport, so it is nice change in weather.

Sebastian was shipping via FedEx and arrived in good shape.  After hearing story upon airline baggage horror story I decided it was the best option. 

I am one of the adjudicators for the Galla-Rini International Competition that commences with Round I in a couple hours.  I saw at least one of the competitors in the lobby and it brought back old memories.  I will keep you updated in the blog.

In honor of the International Competition (but really more in honor of the man) I asked several of Galla-Rini's former students to send me some of their personal experiences and was delighted to receive some wonderful recollections from Amy Jo Sawyer.  I have been promised more and will start posting them as soon as I return to Fredericksburg.  Perhaps all this can be the start of an accordion Center for Oral History.

The section from my book on Tito Guidotti will be posted in a couple weeks to correspond with the AFNA's recognition of Sylvia Prior (Tito's wife and a founding memory of the Accordion Association of Southern California - predecessor of the AFNA).  I am anxious to see some old friends at that event and will ask them for stories on both Sylvia and Tito.  I have often said that I consider Tito as one of the accordion's most underappreciated all-time geniuses.  Sylvia was an important catalyst in Tito's life for many years but also built her own legacy that has continued to the current day. 
ATG 70th, Day 2, July 22 2010, Thursday

Finished the second round of the International Galla-Rini Competition today.  One more round to go.
The competitors are outstanding.  For me, the scoring is difficult.  For the competition, each adjudicator scores independently and the results are based on tabulation of final scores.  So we will all be anxious to see the final result.  Stay tuned to the blog and to the ATG Facebook page for the outcome!

It has been great seeing old friends and meeting many new ones.  My last time at a National event was 1979.  One great thing is being reminded of details from events in the book. I have asked several friends to send me their stories so I can add them in their own words.  So stay tuned.
ATG 70th, The Party's Over July 27 2010, Tuesday

My last accordion event before I stopped playing was at the ATG National Competition and Festival in 1979.  I really didn't know what to expect on my return in 2010, and presenting some of my thoughts is certainly going to occupy this blog for a few days.

30 years ago festivals were almost exclusively about competition.  The focal point of the ATG National Competition was to determine who would go to the Coupe Mondiale.  That focus has certainly changed.  This year's 70th Anniversary Celebration included an International Galla-Rini Competition for Classical Accordion, but there were no entries in the ATG National Competition.  And there were only three young competitors in all the other categories combined. 

So what has replaced the competitions?  In short, the ATG festival was unquestionably one of the most thoroughly enjoyable and rewarding experiences I have had in a very long time.  It was great camaraderie among a widely diverse and devoted group of people who share a genuine love and passion for the accordion.   And for all those in attendance, I don't think it could get much better.

There were some brilliant performances by both the competitors in the Galla-Rini Competition and the wide variety of soloists.  But some of the impromptu moments really brought home the instrument's true diversity, which may be one of the accordion's most valued characteristics.  One of my favorite moments was an impromptu version of Czardas played by Cory Pesaturo and Michael Bridge, a young competitor in the Galla-Rini Competition, at the one of the evening concerts.

I don't know if I have ever heard anyone who can surpass Cory's fierce technical facility and musicianship that is so brilliantly and spontaneously applied to a staggering range of pop, jazz, ethnic, and classical styles.  And to watch Michael take him on, after three days and three rounds of 5 adjudicators scrutinizing every detail of his playing, brought a smile to my face.  It was over the top.  I often tell of the Julliard graduate who was helpless when asked to play Happy Birthday in F. 

Another highlight was the last number of the final concert when Cory and Alexander Sevastian (two Coupe winners) did an ad lib duel on the final sections of Konzertstuck - which I had played the evening before.  So much fun; the absolute height of camp from two brilliant musicians.  It certainly goes eons beyond Happy Birthday in F.  Brought to you live by the ATG.

In the next few days, I will share more stories on the Galla-Rini Competition, the special bands, soloists, and the ATG staff who worked so indefatigably to make all this work.  Also, some technical and musical observations from someone frozen in a time capsule away from accordion for the past 30 years!
Guest Blog by Amy Jo Sawyer on Anthony Galla-Rini July 28, 2010

On the occasion of the ATG 70th Anniversary and the International Galla-Rini Competition for classical accordion, I asked several of Galla-Rini's fellow students to share their personal memories of the this great man.  Amy Jo Sawyer provided the following.  I hope to eventually post these in a special section in memory of the man who contributed so much to the accordion in the words who were fortunate enough to have studied with him.

Anthony Galla-Rini Was My Teacher and Friend

By Amy Jo Sawyer

I had the privilege of being one of Mr. Galla-Rini's students.  He was a true artist with a vast knowledge of the instrument with its capabilities and limitations. He learned how to play it, how to write music for it, and how to instruct others to play it.  His life's work was devoted exclusively to the accordion. He was part of its development, progress and history. He was truly a "living legend" in the world of the accordion and I was very blessed to have studied with him.

I started taking accordion lessons at the age ten in Mesa, Arizona.  Mr. Galla-Rini knew my teacher, Henri Milano, and would visit in Mesa when the opportunity would arise.  Mr. Galla-Rini gave a concert in Phoenix that I well remember. The piece that impressed me the most was "The Lord's Prayer".  He became my idol and I decided I wanted to become a "concert accordionist".
As a young student I would travel from Mesa, Arizona to Glendale, California at the suggestion of, Mr. Milano, to take lessons from Mr. Galla-Rini.

After I was married and lived in Sacramento, CA, I would contact him and take a lesson enroute to visiting family in Arizona.

Anyone that knew Mr. Galla-Rini knows what a wonderful sense of humor he had.  As my teacher, he was ever so patient and kind.  He acted like he thoroughly enjoyed what he was doing.  I remember one particular lesson with him.  The piece was written in treble clef for the left hand.  I don't remember the name of the piece and it was undoubtedly a very early arrangement of an accordion original, as the bass clef very soon replaced the treble clef for the left hand.  I had misread some notes - thinking of them in bass clef.  He said "you know, treble clef - spelled t-r-o-u-b-l-e".  We both laughed and I then read the notes correctly.  This is but one example of his humor and wit.

I did an arrangement of Cole Porter's "Night and Day" and asked him for suggestions.  It had lots of Jazz chords in it and Mr. Galla-Rini. said with a smile "I'm sorry but I can't help you with this one. I am not a Jazz player!" 

I played with Joan Sommer's Accordion orchestra on several tours.  Most of the music we played had been "transcribed for accordion orchestra" by Mr. Galla-Rini.  All of the parts had names that represented all of the instruments in the orchestra.  His arrangements were "master pieces" of the greatest composers, written for accordion orchestra from the original orchestral score.  I think he was the absolute best in the world at transcribing for accordion orchestra.  We performed a piano piece entitled "Danse" by Debussy.

It was a marvelous arrangement.  I happened to find a tiny error in my part and he was so grateful to have the mistake corrected!  He was an absolute perfectionist in every sense of the word.

At his 100th Birthday Party in Los Angeles I played in the accordion orchestra that he conducted. Upon arriving at the event, my husband and I met his son, Ron.  Mr. Galla-Rini was in a wheel chair.  He turned to his son and said "this man's wife is a world class accordionist".  He helped me become the best that I could be and he was kind enough to list my name in his book "Anthony Galla-Rini, on his Life and the Accordion" by Ove Hahn.  I will forever be grateful for my association with this wonderful man.
Accordion Bands and the Dog Show

Something different at the ATG from many years past are the accordion bands.  And from looking at other similar activities on the Internet, the bands have become an important part of many accordion events.  But prior to the ATG I didn’t really give it much thought. 

I was weaned on accordion bands starting at Bettie Thomas Studios where I was officially a Torrance Accordionette - resplendent with my billowy-sleeved satin shirt and sash.  The sashes were color coded to the student’s level of accomplishment.  I was also in the Hit Paraders at Glen Stead’s Compton Music Center, and if you are brave enough you can hear evidence of that experience from a recorded performance on Ted Mack and the Original Amateur Hour posted in the Anecdotes, In The Beginning, Part II.  There were also brief encounters with the Yale Accordion Academy Symphony and the Galla-Rini Diamond Jubilee Ensemble.

Accordion bands were never my thing.  First, I wasn’t terribly excited about playing at someone else’s tempo and was even less excited about having to compete with someone else to be heard.  With Bettie’s groups there was at least some element of sport as there was no formal conductor.  Bettie, or whoever was leading the group at that particular moment, sat at the end of the front row and decided both the program sequence and determined at least the starting tempo for each song.  Gail or Robyn, Bettie’s older daughters sometimes led the groups, but eventually I also got a turn.  And that was fun.

Glen Stead conducted his groups.  He even used a baton.  He was also pretty determined you played at his tempo and followed the dynamics and he was often successful in these attempts.  It was obvious he thoroughly enjoyed the experience – and most of his students were enthusiastic.  We also played some of the music from an original score, requiring us to transpose parts written for non-C instruments.  That could be a disaster, depending on how much we disliked the piece.  It was less fun than Bettie Thomas.

So at the ATG I once again came face-to-face with the accordion band.  I played with the Executive Ensemble conducted by Joan Sommers.  Joan was very careful to make sure everyone had their parts far in advance of the event and that there would be a good balance parts to players.  Seating position and every other performance detail was carefully planned and meticulously executed.  From my many years experience conducting non-accordion choral groups and musical ensembles, I have a deep appreciation for the amount of work necessary to make this work.  With a total of 4 hours rehearsal, time wasted solving logistical problems can quickly reduce critical rehearsal time.

There are certain things one must deal with in solo performance, but the majority of the responsibility is on you.  In contrast, one reality of an ensemble is that the result is dependent on the conductor’s ability to coordinate and control numerous talents.  Though I have performed almost all of my life, I have vowed I will never take another one of my dogs into the show ring.  Regardless of how well trained you think you are (both you and the dog), you never know what they might do once in the ring, and you would be amazed at how easily they can embarrass you.  There is always a similar possibility when you stand with your baton in front of a group.  The potential for surprise is even greater in an unfamiliar venue with players who don’t routinely perform together.  

But these are just the logistical challenges – and if you successfully survive them, they can be the center of a good laugh when everything is done. Making music in spite of all these is the real challenge.  The first part is the accuracy of what is written in the score.  The second part is creating a musical consensus.  For the Executive ATG ensemble, Joan Cochran Sommers took responsibility for all of it – logistics and music – and she was enormously successful in every aspect.  As an aside, it took me three days to get strains of the Video Games Medley to stop playing in my mind.

Another wonderful surprise was the Galla-Rini Ensemble conducted by Esther Lanting.  Galla-Rini wrote and re-wrote arrangements in his later years for his band camps, and the Galla-Rini Ensemble played several of them at the ATG.  I heard the group rehearsing and was overcome by the simplicity and beauty of the arrangements.  I often talk of Galla-Rini’s solo arrangements and transcriptions and how these continue to demonstrate the accordion’s musical capabilities and potential.  When I heard the Galla-Rini band playing those arrangements, I realized how serious my oversight in not fully appreciating or acknowledging his arrangements for accordion ensemble and their importance.  Through those arrangements audiences can hear some very beautiful music.  But perhaps the real gift is for the players, who get to experience the music – music that is not only brilliantly arranged, but also well written for the instrument.  It is music that encourages ensemble playing.  You knew the players were listening to each other without Esther having to tell them to do so.  The result was stunning and powerful.

I often look at my past with some amusement.  I have become perceptive enough to realize that Bettie Thomas and Glen Stead were doing their best to contribute to my development as a musician through participation in the bands.  Perhaps it was more patience than gratitude for them to put up with me honking away trying to constantly prove to everyone that I could play my particular part more accurately, faster and louder than anyone else.

All I know is that when Jim said something to Joan about ‘sight reading’ the parts he met with immediate resistance, “oh no, he is not going to sight read.  He needs to know the parts before he comes.”  And I did.  It certainly sounds like the voice of experience to me!