The Rodney Dangerfield of instruments, the accordion gets no respect. But that may change as its journey from the polka hall to the concert hall is nudged along by virtuosos like Guy Klucevsek and the growing corps of contemporary composers turning to the instrument. This disc of 12 pieces by eight composers could well become a landmark on the accordion’s long march to respectability. In part, that’s due to Klucevsek’s dazzling virtuosity–not only can he play anything written for the squeeze-box, however difficult, but he makes it musical as well. He’s helped by a cadre of composers who write inventive music for the instrument, including Jerome Kitzke, whose Breath and Bone, with its vocal yelps and near-yodels, adds fun to the creative mix. There’s even a pair of songs by Burt Bachrach, including the hilarious The Blob. Stephen Montague’s Aeolian Furies bristles with speedy runs and daring pyrotechnics.
The highlight of the disc for me, Somei Satoh’s Recitative, blends held tones, eerie sonorities, and discreet silences into a haunting evocation of eternity. “Und so veiter,” as the Germans say. As work succeeds work, you appreciate both Klucevsek’s brilliance as a performer as well as the instrument’s potential. The longest piece on the disc is Aaron Jay Kernis’ Hymn. More than 18 minutes long, it is the composer’s response to a visit to Auschwitz-Birkenau and to the contemporary slaughters in the Balkans. Heavy chords, hushed mourning chants, and forceful, jabbing keyboard cries suit the grim lament. Seventy-two minutes of accordion music is a lot; but dipping in for three or four selections at a time brings ample rewards. [8/30/2000]
