Here is an important CD that will certainly leave its mark on accordion discography. It is a significant work for several reasons: firstly because the artist is universally considered to be one of the greatest living accordionists; secondly because this is the first time that the prestigiuos Deutsche Grammophon record label has dedicated an entire CD to the classical accordion; and because the CD has its own originality and even a didatic significance. Looking at the cover and the pairing of Bach with Galliano, one could easily think of some sort of jazz arrangements ( it would not be the first time). In reality however this work sits squarely in the clasical music environment, thanks to the interpretation and choice of mucisians chosen by the french master, who it is worth remembering is an extremely vesatile musician. He has become a master of jazz, new tango and "invented " new musette but originally he studied classical music at the academy. The rapport between Bach's music and the accordion is already well established -documented as early as the 19th century by the italian Giovanni Gagliardi (see his "Manualetto del fisarmonicista" - Paris, 1911) - and then more intensely by others both at a didatic and artistic level (from L.O. Anzaghi to S. Di Gesualdo) - up until today. The repetiore of Bach that was mostly taken up by the accordionists was that of the keyboard (therfore organ and Harpsichord) with some incursions - mainly by accordion orchestras - into his orchestral works. Instead Galliano presents an articulate progamme from various sections of the huge range of Bach 's works. He does this for the solo instrument - for example transcibing the cello part of Prélude from Suite for solo cello, (BWV1007) where he uses only the left hand; and also for the right hand, where even as a soloist he dialogues with a string quartet and bass in Concert for violin (BWV 1041 in a minor.), for Harpsichord (BWV 1056 in f minor.) and for oboe (BWV 1060 in C minor). To complete the range of possibilties, Galliano uses the accordion as a "continuous bass" ( in replacement of the cymbal) to accompany the solo violin (itself replacing the flute) in the track Siciliano, from Sonata BWV 1031, in E flat major. After Contrapunctus I ( where the instrument features in its usual role as polifonic soloist) the programme ends with a homage by Galliano as composer and his Aria of baroque reminicences. As a further confirmation of the richness and originality of this "musical offering" we should add that at the beginning of the programe in the Badinerie (from Suite in b min. BWV 1067) and the Aria from Suite in d BWV 1068) Galliano plays the accordina and the bandonion respectively. In conclusion, this is an exemplary CD that allows one to listen and appreciate the music of Bach from another perspective and that represents an acceptance of the accordion: seen not only as a keyboard but efectively as a wind instrument and not exclusively as a solitary soloist. All this in the ambience of one of the most noble repetiores in musical history. A true milestone for free reed instruments; and the artful Richard Galliano knows this as one can read from the notes in the booklet. Obviously this is a "must have" Cd for all lovers of the accordion and above all of good music. Reviewed by Alessandro Mugnoz |
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