Hello everyone,
I am looking for a bandoneon internship between July/August 2024 if possible.
Thank you in advance for your suggestions.
I am looking for a bandoneon internship between July/August 2024 if possible.
Thank you in advance for your suggestions.
0
Reply
An extraordinary accordionist that you may not know, composer, arranger, saxophonist, he also plays the bandoneon and of course the accordina.
Some extracts plus an interview (in Italian) a character to discover,
Some extracts plus an interview (in Italian) a character to discover,
0
Reply
Hello and best wishes to all.
May this site so deserving meet even more success. Thanks to his parents. I am looking for this accordionist: He is certainly Russian, bald and rather young; in his forties or a little more. He bows to the audience in a very respectful way, religiously, affable as in a pantomime. He plays Oblivion beautifully on his bandoneon accompanied by classical instruments.
Thanks to all those who will help me.
May this site so deserving meet even more success. Thanks to his parents. I am looking for this accordionist: He is certainly Russian, bald and rather young; in his forties or a little more. He bows to the audience in a very respectful way, religiously, affable as in a pantomime. He plays Oblivion beautifully on his bandoneon accompanied by classical instruments.
Thanks to all those who will help me.
9
Replies
Unknown
14/01/2021
Best wishes to you too! Would you have a photo or video to share to help us find?
JOJOKERSU
14/01/2021
Hello,
Thank you for your interest.
t in my request. 5130281324316528
Thank you for your interest.
t in my request. 5130281324316528
JOJOKERSU
14/01/2021
I can't seem to attach a photo or video.
Unknown
14/01/2021
You can put the url link of the page where you found the picture or the link of the youtube video. Members will be able to go and see and maybe identify this accordionist for you
JOJOKERSU
14/01/2021
Thank you very much. I have found it. It is Mario Stephano Pietrodarchi.
I can't give you the link but it's worth a look.
I can't give you the link but it's worth a look.
Unknown
14/01/2021
Unknown
14/01/2021
Wonderful interpretation indeed :)
jpg
15/01/2021
Hello,
I think the URL link is :
Given his name, he seems more Italian than Russian, but he plays with a Belarussian ensemble.
I think the URL link is :
Given his name, he seems more Italian than Russian, but he plays with a Belarussian ensemble.
JOJOKERSU
16/01/2021
Thank you for your contribution. He is indeed Italian. Born in Atessa, Italy in 1980.
Good evening everyone. I want to do something new, I'm starting the bandoneon. Only I don't know what to start with. I have an Ambros method, really hard. I want to do scales but if someone has a little easy tango to encourage me, or a name of method for diatonic bandoneon, it would be nice.
1
Reply
Unknown
16/12/2014
hello cathe02 .me is harmojack .having known paul chalier (known as pablo caliero) I know that it made a method, that you will find at di arezzo, only s is for chromatic bandoneon, if not there is for concertina .you can also inform you by telephoning with the conservatory of Paris, you can also see on youtube those which practises this instrument and their tel or to write to see if necessary, their mall . When the easy piece see tangos of dino margelli Here it gives me a great idea, you will phone to louis corchia he must have your happiness his father (primo corchia) was a master in bando. There are quite a lot of scores of him on the site. Voila, basically, if you dry I'll help you; good luck.
HELLO MUSICIAN FRIENDS
Tony Muréna has recorded a lot, especially in his last period when, like many others, he devoted himself to the interpretation of variety songs or fashionable tunes. It was necessary to forget everything that recalled the war and therefore also the music of that period; in short, the swing era was over. We have privileged here this golden age of swing musette: that is to say the years 1939-1947, plus some later titles where Muréna still has beautiful accents. If many of these songs have already been re-released on CD, they were most often scattered on various compilations, most of the time mixed with typical or commercial songs, without any indication of date or personnel, and in these times where one product drives out the other, most of these discs are not available anymore (1). Here is for the first time in 3 CDs, and in chronological order, almost all of Tony Muréna's best tracks, (with precise references and indication of personnel when identified), showing his immense talent. THE BEGINNINGS Born in Italy in 1916, Antonio Muréna did not know his father, who died on the field of honor (fallen on the Chemin des Dames). Like many Italians, he arrived in France with his mother, who remarried in 1923 to a fellow countryman, shortly after the First World War. They settled in Nogent-sur-Marne and then in Joinville. An uncle gave his first accordion to the young Tony, who showed a serious aptitude for music and studied with passion and persistence. The autodidact benefits from the advice of the great Médard Ferrero. At the age of twelve, he already performed at his first balls. Then, launched by his cousin Louis Ferrari (1910-1988), also an accordionist, he started in cabarets and guinguettes. He lost his mother and then his stepfather and found himself alone with his sister and three half-sisters. To make boil the pot he puts the double bites, puts himself in the bandoneon and quickly integrates the best orchestras of tango (Rafael Canaro, Eduardo Bianco...). We are in 1932, Muréna is only 16 years old ! His quintet is sufficiently famous to be part of the replacements of the holder of the Balajo. Having to go on tour, Muréna proposes to Jo Privat to replace him at the Balajo; the latter will remain there 50 years! Muréna plays at La Silhouette, La Boule noire, La Java, Le Pré Catelan, Ciro's... The guitarists Didi Duprat, Lucien Gallopin, one or the other of the Ferré, are then its accompanists. SWING MUSETTE It is in France that the first full-fledged jazz accordion develops. Roger Etlens is said to have been one of the first to play jazz on the accordion, followed by Louis Richardet and Charley Bazin. But these precursors did not record much and it is Viseur who will be the first great jazz accordionist, followed immediately by Muréna. In the absence of the American models, who left for the United States after the declaration of war, the pioneers of the French swing accordion developed a style mixing American jazz, French musette and gypsy swing. Viseur, Muréna, and then Jo Privat, renovated the musette genre in depth by eliminating the accordion's vibrating register, introducing more sophisticated harmonies, and embarking on the adventure of what is called im-provisation. According to Mrs. Muréna's testimony (2), whenever they had a moment, Gus (Viseur) and Tony (Muréna) would play together just for them. We have a glimpse of what this could give, with about ten titles recorded around 1948 by the two companions (Matelo Ferret would be on guitar and the double bass player is not identified). These recordings, not very well known, were released under the name of Accordion's Club (cf. here "?Home Trainer?", the magnificent version of "?Body and Soul?", the super acceleration of tempo on "?On The Sunny Side of The Street?" which swings to death, and "?After You've Gone?) They will also play with the whole team of the Hot Club de France, where Muréna joins in 1941, and meet in boeufs, after the concerts, and more regularly thereafter at the Mirliton, a dance hall that Muréna buys in 1949 on the side of the place Clichy, and where all the accordionists come, at least those who like the beautiful chords. Still according to Mrs Muréna, Django and Tony liked to play together... What a pity that no sound trace has reached us! "... We were in Les Sables d'Olonne when Tony learned that Django had died. Tony collapsed. That's the only time I saw my husband cry..." (3) MURÉNA, VEDETTE DES DISQUES ODÉON In 1939, shortly before the declaration of war, Tony met Emile Prud'homme (who was to become his brother-in-law), who had just recorded for the prestigious Odéon record label. He introduced Tony to the artistic director of the label, Edouard Dory, who was truly enthusiastic about his sparkling playing. On May 11, 1939, two swings are recorded, "?Madam's?" co-composed by Muréna with P. Fontaine and "?all is not lost?", a light swing by Louis Richardet. Jacques Petitsigne is on double bass, Matelo and Sarane on guitars, the latter illustrating himself by two remarkably constructed choruses and of course Tony on accordion, who combines in his phrasing beautiful and elegant. From the beginning of the 1940s, Muréna gave a new dimension to the accordion, surrounding himself with the best jazz musicians of the time: the drummers Georges Marion, Jacques Irsa, Roger Paraboschi, Pierre Fouad, the double bassists Jean Merlin, Jacques Petitsigne, René Larguier or Pascal Groffe, the clarinettists Pierre Gossez, Francis Camus, Lucas, Pierre Delhoumeau or Hubert Rostaing, the pianists Michel Ramos or Boris Sarbek, the guitarists Didi Duprat, René Duchaussoir, Lucien Gallopin... Between 1939 and 1943, Muréna drew largely from the gypsy source and more exactly from the gypsy source, by joining, just like Viseur (and a little later Privat) the talents of the Ferret brothers: Baro, Matelo and Sarane. In 1941, Tony becomes the star of the Odeon records and puts 22 titles in the can that year; the accordionist has perhaps never played so brilliantly. If his style is less fiery, less flamboyant than Viseur's, his touch is more sentimental and airy (cf. "?Le paradis perdu?", a magnificent ballad where Muréna combines finesse and feeling, this beautiful version of "?Yeux noirs?" with a long guitar chorus probably by Sarane, or these nervous swings like "?Le jitterbug?", "?Playmates?", "?Express 113?"or "China Town", an "American" jazz theme that the needs of the French production will rename "Chinatown", the opportunity for Muréna to launch some beautiful rockets), these last titles almost all interpreted with a septet with a very Goodmanian spirit: piano, drums and clarinet (excellent chorus of Pierre Delhoumeau). The accordionist treats the instrument like a real orchestra, taking advantage of all its resources: finesse of play, phrasing of a rare elegance, sense of exposition of a theme, constant inspiration. Stylist as there are few, he is never in the clichés: originality, spirit of creation and freshness are at the appointment. For Marcel Azzola, "?when Tony plays, we forget that it is the accordion, he is an authentic genius? Muréna is also the author of some fabulous compositions such as "Swing promenade", "Pacific" (a kind of blues that starts a bit like Django Reinhardt's "Rythm Futur", with an acceleration of the tempo illuminated by a sparkling guitar chorus, probably due to Baro Ferret, and rockets sent by Tony), "Ciro's", on which his suppleness and relaxed phrasing are marvellous, "Milk Bar", one of his most famous swings."one of his most accomplished swings or "?Pré catelan?", a swing recorded on May 30, 1942, a day when grace was undoubtedly upon him, since he also recorded "?Indifference? and "?Passion?", two masterpieces of great melodic beauty, co-composed with Joseph Colombo, charged with sensitivity and emotion, illuminated by Baro's chorus and which have not ceased to be played and replayed since. Muréna is thus, with Viseur and Privat, the singer of the waltz in minor which, imbued with a certain spleen, imposes itself as the masterpiece of jazz musette. MYSTERY AND GUMDROP !
Tony Muréna has recorded a lot, especially in his last period when, like many others, he devoted himself to the interpretation of variety songs or fashionable tunes. It was necessary to forget everything that recalled the war and therefore also the music of that period; in short, the swing era was over. We have privileged here this golden age of swing musette: that is to say the years 1939-1947, plus some later titles where Muréna still has beautiful accents. If many of these songs have already been re-released on CD, they were most often scattered on various compilations, most of the time mixed with typical or commercial songs, without any indication of date or personnel, and in these times where one product drives out the other, most of these discs are not available anymore (1). Here is for the first time in 3 CDs, and in chronological order, almost all of Tony Muréna's best tracks, (with precise references and indication of personnel when identified), showing his immense talent. THE BEGINNINGS Born in Italy in 1916, Antonio Muréna did not know his father, who died on the field of honor (fallen on the Chemin des Dames). Like many Italians, he arrived in France with his mother, who remarried in 1923 to a fellow countryman, shortly after the First World War. They settled in Nogent-sur-Marne and then in Joinville. An uncle gave his first accordion to the young Tony, who showed a serious aptitude for music and studied with passion and persistence. The autodidact benefits from the advice of the great Médard Ferrero. At the age of twelve, he already performed at his first balls. Then, launched by his cousin Louis Ferrari (1910-1988), also an accordionist, he started in cabarets and guinguettes. He lost his mother and then his stepfather and found himself alone with his sister and three half-sisters. To make boil the pot he puts the double bites, puts himself in the bandoneon and quickly integrates the best orchestras of tango (Rafael Canaro, Eduardo Bianco...). We are in 1932, Muréna is only 16 years old ! His quintet is sufficiently famous to be part of the replacements of the holder of the Balajo. Having to go on tour, Muréna proposes to Jo Privat to replace him at the Balajo; the latter will remain there 50 years! Muréna plays at La Silhouette, La Boule noire, La Java, Le Pré Catelan, Ciro's... The guitarists Didi Duprat, Lucien Gallopin, one or the other of the Ferré, are then its accompanists. SWING MUSETTE It is in France that the first full-fledged jazz accordion develops. Roger Etlens is said to have been one of the first to play jazz on the accordion, followed by Louis Richardet and Charley Bazin. But these precursors did not record much and it is Viseur who will be the first great jazz accordionist, followed immediately by Muréna. In the absence of the American models, who left for the United States after the declaration of war, the pioneers of the French swing accordion developed a style mixing American jazz, French musette and gypsy swing. Viseur, Muréna, and then Jo Privat, renovated the musette genre in depth by eliminating the accordion's vibrating register, introducing more sophisticated harmonies, and embarking on the adventure of what is called im-provisation. According to Mrs. Muréna's testimony (2), whenever they had a moment, Gus (Viseur) and Tony (Muréna) would play together just for them. We have a glimpse of what this could give, with about ten titles recorded around 1948 by the two companions (Matelo Ferret would be on guitar and the double bass player is not identified). These recordings, not very well known, were released under the name of Accordion's Club (cf. here "?Home Trainer?", the magnificent version of "?Body and Soul?", the super acceleration of tempo on "?On The Sunny Side of The Street?" which swings to death, and "?After You've Gone?) They will also play with the whole team of the Hot Club de France, where Muréna joins in 1941, and meet in boeufs, after the concerts, and more regularly thereafter at the Mirliton, a dance hall that Muréna buys in 1949 on the side of the place Clichy, and where all the accordionists come, at least those who like the beautiful chords. Still according to Mrs Muréna, Django and Tony liked to play together... What a pity that no sound trace has reached us! "... We were in Les Sables d'Olonne when Tony learned that Django had died. Tony collapsed. That's the only time I saw my husband cry..." (3) MURÉNA, VEDETTE DES DISQUES ODÉON In 1939, shortly before the declaration of war, Tony met Emile Prud'homme (who was to become his brother-in-law), who had just recorded for the prestigious Odéon record label. He introduced Tony to the artistic director of the label, Edouard Dory, who was truly enthusiastic about his sparkling playing. On May 11, 1939, two swings are recorded, "?Madam's?" co-composed by Muréna with P. Fontaine and "?all is not lost?", a light swing by Louis Richardet. Jacques Petitsigne is on double bass, Matelo and Sarane on guitars, the latter illustrating himself by two remarkably constructed choruses and of course Tony on accordion, who combines in his phrasing beautiful and elegant. From the beginning of the 1940s, Muréna gave a new dimension to the accordion, surrounding himself with the best jazz musicians of the time: the drummers Georges Marion, Jacques Irsa, Roger Paraboschi, Pierre Fouad, the double bassists Jean Merlin, Jacques Petitsigne, René Larguier or Pascal Groffe, the clarinettists Pierre Gossez, Francis Camus, Lucas, Pierre Delhoumeau or Hubert Rostaing, the pianists Michel Ramos or Boris Sarbek, the guitarists Didi Duprat, René Duchaussoir, Lucien Gallopin... Between 1939 and 1943, Muréna drew largely from the gypsy source and more exactly from the gypsy source, by joining, just like Viseur (and a little later Privat) the talents of the Ferret brothers: Baro, Matelo and Sarane. In 1941, Tony becomes the star of the Odeon records and puts 22 titles in the can that year; the accordionist has perhaps never played so brilliantly. If his style is less fiery, less flamboyant than Viseur's, his touch is more sentimental and airy (cf. "?Le paradis perdu?", a magnificent ballad where Muréna combines finesse and feeling, this beautiful version of "?Yeux noirs?" with a long guitar chorus probably by Sarane, or these nervous swings like "?Le jitterbug?", "?Playmates?", "?Express 113?"or "China Town", an "American" jazz theme that the needs of the French production will rename "Chinatown", the opportunity for Muréna to launch some beautiful rockets), these last titles almost all interpreted with a septet with a very Goodmanian spirit: piano, drums and clarinet (excellent chorus of Pierre Delhoumeau). The accordionist treats the instrument like a real orchestra, taking advantage of all its resources: finesse of play, phrasing of a rare elegance, sense of exposition of a theme, constant inspiration. Stylist as there are few, he is never in the clichés: originality, spirit of creation and freshness are at the appointment. For Marcel Azzola, "?when Tony plays, we forget that it is the accordion, he is an authentic genius? Muréna is also the author of some fabulous compositions such as "Swing promenade", "Pacific" (a kind of blues that starts a bit like Django Reinhardt's "Rythm Futur", with an acceleration of the tempo illuminated by a sparkling guitar chorus, probably due to Baro Ferret, and rockets sent by Tony), "Ciro's", on which his suppleness and relaxed phrasing are marvellous, "Milk Bar", one of his most famous swings."one of his most accomplished swings or "?Pré catelan?", a swing recorded on May 30, 1942, a day when grace was undoubtedly upon him, since he also recorded "?Indifference? and "?Passion?", two masterpieces of great melodic beauty, co-composed with Joseph Colombo, charged with sensitivity and emotion, illuminated by Baro's chorus and which have not ceased to be played and replayed since. Muréna is thus, with Viseur and Privat, the singer of the waltz in minor which, imbued with a certain spleen, imposes itself as the masterpiece of jazz musette. MYSTERY AND GUMDROP !
0
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Hello I have just added, for those who are interested, the famous method for chromatic bandoneon of Pablo Caliero.
Good work
Good work
12
Replies
robinson 82
14/09/2013
Hello Jimi 34: hello everyone:
even if I don't need this method, someone should say thank you for everything you offer!
so for me' it's done ...
good weekend
Robinson
even if I don't need this method, someone should say thank you for everything you offer!
so for me' it's done ...
good weekend
Robinson
Hello to all of you
I agree too: but we should not forget :
musettina11110 (more than 1 000) and Philarmonie (about 180) ...etc. (I feel that I'm going to forget some of them ... may they forgive me !)
and also some other people who deposited more than 1 000 scores including books ... :
Daniel
or more than 2 000 : cindou ....
In short, any participation, even the smallest, is deserving ...
everyone, by searching a little, will be able to find at least one score which is not already deposited .... if, if search well in your books and other drawers ....
Good music to all and may PA live long !
jmimi
I agree too: but we should not forget :
musettina11110 (more than 1 000) and Philarmonie (about 180) ...etc. (I feel that I'm going to forget some of them ... may they forgive me !)
and also some other people who deposited more than 1 000 scores including books ... :
Daniel
or more than 2 000 : cindou ....
In short, any participation, even the smallest, is deserving ...
everyone, by searching a little, will be able to find at least one score which is not already deposited .... if, if search well in your books and other drawers ....
Good music to all and may PA live long !
jmimi
jimi34
18/09/2013
Hello to all of you,
thanks to you, but I completely agree with jmimi, I am very far from the very generous posers....I won't name them all but they will recognize themselves. Anyway, as jmimi rightly says, everyone brings his stone (small, medium, or big) to the building of P.A. A big thank you to Slade the initiator and to the administrators and assistants (..tes), who don't count their time voluntarily ... anyway it's like in the song: "All together, all together hey! hey!"
thanks to you, but I completely agree with jmimi, I am very far from the very generous posers....I won't name them all but they will recognize themselves. Anyway, as jmimi rightly says, everyone brings his stone (small, medium, or big) to the building of P.A. A big thank you to Slade the initiator and to the administrators and assistants (..tes), who don't count their time voluntarily ... anyway it's like in the song: "All together, all together hey! hey!"
levinceret
13/10/2014
good evening
I can't find the chromatic method for bandoneon.
Could someone help me?
Thanks in advance
Sincerely
I can't find the chromatic method for bandoneon.
Could someone help me?
Thanks in advance
Sincerely
levinceret
13/10/2014
good evening again
I found it in the tutorials.
Good evening and sorry for the inconvenience
Sincerely
I found it in the tutorials.
Good evening and sorry for the inconvenience
Sincerely
Unknown
17/12/2014
Hello,
Thank you for sharing the bandoneon method with me, it's very nice, but I can't find it. Could you tell me where it is or how to look for it?
Thank you for sharing the bandoneon method with me, it's very nice, but I can't find it. Could you tell me where it is or how to look for it?
Vernonait
17/12/2014
Hello Julienandrieu
The method you are looking for can be found in the "Tutorial" section
Good learningVernonait
The method you are looking for can be found in the "Tutorial" section
Good learningVernonait
Unknown
17/12/2014
Thank you for your answer, I am directed to a yearly payment link. Is this normal?
Vernonait
17/12/2014
Hello,
No, this is not normal; the "Tutorials" section is part of the Accordion Scores site; and I checked and for me, it's good, I can access the PDF link.
I advise you to send a message to SLADE by clicking on "contact" at the bottom right of the page: [email protected] explaining well the maneuvers you are doing.
Don't lose courage, everything will work out....Vernonait
No, this is not normal; the "Tutorials" section is part of the Accordion Scores site; and I checked and for me, it's good, I can access the PDF link.
I advise you to send a message to SLADE by clicking on "contact" at the bottom right of the page: [email protected] explaining well the maneuvers you are doing.
Don't lose courage, everything will work out....Vernonait
Unknown
17/12/2014
Wouldn't it be better, if you don't mind, to send me the pdf file by email to the following address: I have to start playing the bandoneon as soon as possible.
julienjc
14/04/2016
Hello
I am interested in your method
here is my mail
Mail deleted : we are referenced on Google and therefore in the sight of all .... / The tutorials are only available to premium members ...
thank you
I am interested in your method
here is my mail
Mail deleted : we are referenced on Google and therefore in the sight of all .... / The tutorials are only available to premium members ...
thank you
jphf51
14/04/2016
Good evening,
The method is online in the downloadable "TUTORIAL" tab.
Good study of this beautiful instrument
Cldt
The method is online in the downloadable "TUTORIAL" tab.
Good study of this beautiful instrument
Cldt
Hello to all,
I have just put on the site Vol 1 and Vol 2 of Progressive Pieces for Piano by Bela Bartok;
They are certainly made initially for the beginners with the Piano, but also to work the chromatic Bandoneon MD and MG. Advice from a well-informed "bandoneonist".
For those who would like to try this instrument, which is close to the accordion.
I have just put on the site Vol 1 and Vol 2 of Progressive Pieces for Piano by Bela Bartok;
They are certainly made initially for the beginners with the Piano, but also to work the chromatic Bandoneon MD and MG. Advice from a well-informed "bandoneonist".
For those who would like to try this instrument, which is close to the accordion.
0
Reply
Hello to all,
I have just put on the site Vol 1 and Vol 2 of Progressive Pieces for Piano by Bela Bartok;
They are certainly made initially for the beginners with the Piano, but also to work the chromatic Bandoneon MD and MG. Advice from a well-informed bandoneonist.
For those who would like to try this instrument, which is close to the accordion.
I have just put on the site Vol 1 and Vol 2 of Progressive Pieces for Piano by Bela Bartok;
They are certainly made initially for the beginners with the Piano, but also to work the chromatic Bandoneon MD and MG. Advice from a well-informed bandoneonist.
For those who would like to try this instrument, which is close to the accordion.
0
Reply
Good evening to all,
I suppose that in this community there are bandoneonists "'ouh that it is hard to write"!!!. and that scores specifically written for bando exist, I suggest if it is possible to create in the search engine the mention Bando in addition to the existing mentions chroma and diato.It is quite obvious that one can always play a piece written for bando on the accordion 'one does not have the same rendering for the key of F obviously.
musically to all bandos and accordions of all kinds
Djipy
0
Reply
