I once wrote that orchestral composers will always
be inclined to regard the accordion and concertina as never likely to form
part of the force always at work in the instrumentation of the standard
symphony orchestra. I have now thought it appropriate to give some
instances of our instruments picturesquely placed therein by composers,
who have believed that they would give piquancy and relief to certain portions
of the score when judiciously introduced there.
The most important composer to do this was Tchaikovsky,
who in 1883 composed his “Second Orchestral Suite in C” (the characteristic)
Op. 53, and introduced four accordions in the humorous “Scherzo” movement.
The scoring is simple, and it is likely to be understood that the diatonic
accordions were used at that time. I don’t believe this work has
ever been heard in America. It was premiered in 1884 in Russia under
M. Erdmansderfer and published by Jurgenson.
Other Russians who have scored for the accordion have
been Yuri Shaporin and Prokofieff, while some Teutonic extraction have
been Franz Schreker, Carl Orff, Alban Berg, and the Hungarian Eugene Zador
(now in the U.S.A.). Even a few Americans have designed to write
for it, like Virgil Thompson, Marc Blitzstein and perhaps some others of
the present day. (In a moment I shall refer to a work by Franke Harling
over twenty years ago in which our own Charlie Magnante was featured soloist.
In the foregoing examples (as well as those for the concertina
to which I shall shortly refer) there may be some which flatter the status
of the accordion as a musical instrument and others may detract from it.
We certainly cannot be pleased with an accordion part which is negligible
in interest and value.
The accordion (concertina and bandoneon) can be said to
occupy a similar position in the great family of musical instruments to
the violet among the flowers. The stately lily, the sweet violet
and the fragrant stock -- each has its position in the garden, although
it may not always find its place in the bouquet (Orchestra).
A work which I think would have been interesting to have
heard (perhaps it could be revived in today’s modern dress) was Franke
Harling’s “Jazz Concerto Grosso” his symphony orchestra (110 men) and jazz
band (a dozen men or fifty), premiered in New York at the Roxy Theater
on May 14th, 1927. In this work the orchestra was in the pit and
the jazz band on the stage. What was no doubt the first American
instance of an accordionist’s association in such company occurred here
when Charles Magnante was engaged to execute (as his share in the work)
a difficult and extended cadenza assigned to him as a member of the jazz
band upon the stage by Harling.
“Metronome” magazine said: “There is a cadenza for an
accordion so elaborate that it would offer great difficulties to a solo
violinist. It will introduce an entirely new technique for the accordion.”
The work was written in free style but contained a fugue
written in jazz rhythm. It is provocative to think about this work
possibly being revived again!
In connection with Magnante and his great contemporary,
Cornell, as members of the Lucky Strike Orchestra of some fifty men, with
B.A. Rolfe conducting, it seems appropriate to give here a short sketch
of their orchestral and radio work.
Cornell Smelser was born on August 7th, 1902 in Budapest,
Hungary, and came to the U.S. in 1920. He was originally a pianist
and later became fascinated by the accordion. He seems not to have
entered recording and radio work as an accordionist with orchestras until
the last part of 1929 and continued as one of the favorite accordionists
of the New York airwaves until around the middle of 1931, when unfortunately,
destiny appeared in the form of severe illness which was to prevent him
from returning to his musical work. Besides his beautiful musicianship,
he had also been a brilliant scientific scholar, which possibly accounts
in part for the peculiarly ravishing, bold, solid, strangely liquid quality
of tone inherent in the reeds of his accordion which was, no doubt, under
his minute supervision when made.
Cornell’s appearance on the accordion horizon was the
appearance of a rare genius, and although his fate was to shine like a
star for only a short period, he has already attained immortality in the
minds and hearts of those who loved the way he played the accordion.
The perennial Charlie Magnante (who goes on and on in
radio like the proverbial stream.) was born on December 7th, 1905 in New
York City. His admirable career has closely followed the “temptations”
radio since 1923 and has since ventured but occasionally (into concerts
and other appearances) from sacrosanct and chilly chambers.
In “The Golden Years” of 1930 and 1931, Magnante’s high
total of radio shows per week numbered 31 and Cornell told me he did as
many as 37! Thus we see that both these miraculous orchestra accordionists
were dispatching upwards of 70 weekly radio programs together, so that
seemingly no matter what time of day or night the radio was listened to,
you were sure to hear one or the other!
*) Editor's Note: This title was created by
the editor (Joe Natoli) based on the content of the article.
The actual title is not known.
