Fisarmonica Music

[Xiaoqi Hauge]

FrancescoPalazzo (Martina Franca 1969) studied with Salvatore di Gesualdo. He graduated with honors in Accordion (the first in Italy) at the Conservatory "L. Cherubini "in Florence, completing his training through the humanities, Composition, Choral Music and Choral Conducting.

Special Mention "S. Gubaidulina "all '" Ibla Grand Prize "2001 and 2002 got the opportunity to perform in prestigious concert halls in the United States and Europe (New York - Lincoln Center, Alice Tully Hall, NY University, Amsterdam IIC)

It also played an important concerts in the main Italian cities and abroad (Holland, Germany, Albania, Congo) for important concert associations and music festivals.

He led a staff technical and expressive research, also based on comparison with other instruments, which prompted him to re-establish his playing technique on a new basis and to design and to build a concert instrument more responsive to the changing demands of art.

Since 1993 he has been teaching accordion at the Conservatory "N. Piccinni "in Bari, parallel to the concert and teacher, act as the auditor and composer with a number of publications of transcriptions, adaptations and his own compositions for accordion as well as an important work of didactic entitled" Fundamentals of Technical Accordion "for the Berben music publishing and for Physa Musical Editions.

He has recorded for Smile Ed Mus., Rugginenti and as a soloist for the Phoenix Audiosystem, a recital includes music by J. S. Bach, C. Franck, F. Lattuada, F. Alfano, L. Ferrari-Trecate, S. Calligaris, B. Bartolozzi and S. Gubaidulina and Digression Music. With the latter has published "Movimento Perpetuo", a new record on the original literature for accordion avant-garde of the last forty years of music by L. Andriessen, T. Hosokawa, T. I. Lundquist, F. Palazzo, S. Gubaidulina, G. Tailleferre, O.Schmidt, S. di Gesualdo, and "FOLKSONGS!", with Tiziana Portoghese, mezzo soprano.

In chamber music and orchestral have to report important collaborations with the "Tamborrino Ensemble", the "Xenia Ensemble", Fondazione Adkins Chiti-"Women in Music", the orchestra "Musica Judaica" and the "Collegium Musicum", with which performed, alongside the cellist Elizabeth Wilson, the opera "Sieben Worte" by the Russian composer Sofia Gubaidulina, for accordion, cello and string orchestra, the Orchestra of the concert Society of Bari, with which he performed for the first absolute in 2008 the "Concert for the people" for accordion and orchestra, dedicated to him by the composer Luigi pugliese Morley, the "Morley Mediterranean Quartet" Duo "with the mezzo-soprano Tiziana Portuguese Folksongs, the Duo" Palazzo Squillante, "with the mandolin player Mauro Squillante.

In 2005 he made his debut as a composer, winning the first prize to the Eighth Edition of the International Composition Competition "Franco Evangelisti", organized by the New Consonance, with "Perpetual Motion" - Studio Concert for accordion, published by Suvini dell'Edizioni Zerboni.

His performances and compositions have been broadcast by RadioTre, Vatican Radio, Classical Radio Network and other European broadcasters.

In May 2011 at the Teatro Petruzzelli in Bari has performed in world premiere, a concerto for solo accordion and orchestra, written for him by composer Vito Palumbo.

The accordion is played by compressing or expanding the bellows while pressing buttons or keys, causing pallets to open, which allow air to flow across strips of brass or steel, called reeds. These vibrate to produce sound inside the body. Valves on opposing reeds of each note are used to make the instrument's reeds sound louder without air leaking from each reed block.[notes 1]

The accordion is widely spread across the world because of the waves of migration from Europe to the Americas and other regions. In some countries (for example: Argentina, Brazil,[3][4] Colombia, the Dominican Republic, Mexico, and Panama) it is used in popular music (for example: chamam in Argentina; gaucho, forr, and sertanejo in Brazil; vallenato in Colombia; merengue in the Dominican Republic; and norteo in Mexico), whereas in other regions (such as Europe, North America, and other countries in South America) it tends to be more used for dance-pop and folk music.

In Europe and North America, some popular music acts also make use of the instrument. Additionally, the accordion is used in cajun, zydeco, jazz, and klezmer music, and in both solo and orchestral performances of classical music. Many conservatories in Europe have classical accordion departments. The oldest name for this group of instruments is harmonika, from the Greek harmonikos, meaning "harmonic, musical". Today, native versions of the name accordion are more common. These names refer to the type of accordion patented by Cyrill Demian, which concerned "automatically coupled chords on the bass side".[5]

The accordion's basic form is believed to have been invented in Berlin, in 1822, by Christian Friedrich Ludwig Buschmann,[notes 2][6] although one instrument was discovered in 2006 that appears to have been built earlier.[notes 3][7][8]

The earliest history of the accordion in Russia is poorly documented. Nevertheless, according to Russian researchers, the earliest known simple accordions were made in Tula, Russia, by Ivan Sizov and Timofey Vorontsov around 1830, after they received an early accordion from Germany.[9] By the late 1840s, the instrument was already very widespread;[10] together the factories of the two masters were producing 10,000 instruments a year. By 1866, over 50,000 instruments were being produced yearly by Tula and neighbouring villages, and by 1874 the yearly production was over 700,000.[11] By the 1860s, Novgorod, Vyatka and Saratov governorates also had significant accordion production. By the 1880s, the list included Oryol, Ryazan, Moscow, Tver, Vologda, Kostroma, Nizhny Novgorod and Simbirsk, and many of these places created their own varieties of the instrument.[12]

The accordion is one of several European inventions of the early 19th century that use free reeds driven by a bellows. An instrument called accordion was first patented in 1829 by Cyrill Demian in Vienna.[notes 4] Demian's instrument bore little resemblance to modern instruments. It only had a left hand buttonboard, with the right hand simply operating the bellows. One key feature for which Demian sought the patent was the sounding of an entire chord by depressing one key. His instrument also could sound two different chords with the same key, one for each bellows direction (a bisonoric action). At that time in Vienna, mouth harmonicas with Kanzellen (chambers) had already been available for many years, along with bigger instruments driven by hand bellows. The diatonic key arrangement was also already in use on mouth-blown instruments. Demian's patent thus covered an accompanying instrument: an accordion played with the left hand, opposite to the way that contemporary chromatic hand harmonicas were played, small and light enough for travelers to take with them and used to accompany singing. The patent also described instruments with both bass and treble sections, although Demian preferred the bass-only instrument owing to its cost and weight advantages.[notes 5]

The accordion was introduced from Germany into Britain in about the year 1828.[13] The instrument was noted in The Times in 1831 as one new to British audiences[14] and was not favourably reviewed, but nevertheless it soon became popular.[15] It had also become popular with New Yorkers by the mid-1840s.[16]

After Demian's invention, other accordions appeared, some featuring only the right-handed keyboard for playing melodies. It took English inventor Charles Wheatstone to bring both chords and keyboard together in one squeezebox. His 1844 patent for what he called a concertina also featured the ability to easily tune the reeds from the outside with a simple tool.[17]

The Austrian musician Adolf Mller described a great variety of instruments in his 1854 book Schule fr Accordion. At the time, Vienna and London had a close musical relationship, with musicians often performing in both cities in the same year, so it is possible that Wheatstone was aware of this type of instrument and may have used them to put his key-arrangement ideas into practice.

Jeune's flutina resembles Wheatstone's concertina in internal construction and tone colour, but it appears to complement Demian's accordion functionally. The flutina is a one-sided bisonoric melody-only instrument whose keys are operated with the right hand while the bellows is operated with the left. When the two instruments are combined, the result is quite similar to diatonic button accordions still manufactured today.

Further innovations followed and continue to the present. Various buttonboard and keyboard systems have been developed, as well as voicings (the combination of multiple tones at different octaves), with mechanisms to switch between different voices during performance, and different methods of internal construction to improve tone, stability and durability. Modern accordions may incorporate electronics such as condenser microphones and tone and volume controls, so that the accordion can be plugged into a PA system or keyboard amplifier for live shows. Some 2010s-era accordions may incorporate MIDI sensors and circuitry, enabling the accordion to be plugged into a synth module and produce accordion sounds or other synthesized instrument sounds, such as piano or organ.

Accordions have many configurations and types. What may be easy to do with one type of accordion could be technically challenging or impossible with another, and proficiency with one layout may not translate to another.

The most obvious difference between accordions is their right-hand sides. Piano accordions use a piano-style musical keyboard; button accordions use a buttonboard. Button accordions are furthermore differentiated by their usage of a chromatic or diatonic buttonboard for the right-hand side.[18]

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