Sep 29, 1996 - instrument played as well as Stas per- de Cha-Cha-Cha (sung in Spanish) was e. Spanish) was Call. Today, who has sufficient technique, ma- the listener may be distracted by a notice- turity. Derbenko: Toccata.

Paul Chamberlain Writes for ‘Gramophone’ – UK by Accordionist has been asked to write a blog for ‘Gramophone’, the classical music magazine also published as a website. His first article, ‘The accordion's time has come’, is reproduced below for your interest.

Is currently recording a new CD, which will be launched in London on July 1st at the 1901 Arts Club, to be followed by a tour across the UK. Full concert tour details will be published soon on.

‘The accordion's time has come’ Paul Chamberlain's blog explains why this versatile instrument is finding a place in our concert halls. The origins of the accordion can be traced back to the Chinese Sheng, yet the instrument we know as an accordion today, was patented in Vienna in 1829, by Cyrillius Demien. Popular the world over in various forms as a folk instrument, it is only in the latter half of the 20th Century that the development of the 'free-bass' system (which allowed for the freedom to move away from the arrangement of pre-set chords on the left-hand side of the instrument) gave accordionists the opportunity to cross into the world of mainstream classical music.

My first visit to Russia as a teenager to perform in the Baltic Harmonica Festival in St Petersburg had a profound effect on me, as this was where I first encountered the free-bass accordion. The range of colours, richness of sound and array of repertoire was a revelation to me and on my return home, I decided to change systems not only to ‘free-bass’, but also from piano accordion to the five-row chromatic button keyboard. Many arrangements I had previously played were in some way compromised by the left hand of the instrument, so this new form enabled me to perform complex polyphonic keyboard works such as those by Bach, Mozart and Franck; as well as being able to delve into the ever-growing library of original repertoire which is virtually unknown to the general public.

I have always considered the accordion to be a very expressive instrument and, being a synthesis of both a keyboard and a wind instrument, is capable of sustaining sounds, producing a wonderful variety of timbres from its registers. It has a large dynamic range from ppp to fff. Much of the Baroque keyboard repertoire can be successfully performed on the accordion, in particular, works by composers such as Bach, Scarlatti, Rameau, and Couperin. Having included works by Bach and Rameau on an earlier disc, my latest CD will feature two sonatas by Domenico Scarlatti. Xlstat crack serial keygen.