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Romano Viazzani in conversation with Milos Milivojevic (2nd part)

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Milivojevic bottonAgain, do you do your own arrangements for the Tango quintet?

Sometimes. Piazzolla arrangements are already for that combination. They’re quite good in terms of balance and everything else and really suit the group. What we try to do with the group is that actually all the players are all soloists.

The London Tango Quintet is an ensemble of five leading UK musicians who first teamed up in 2007. An acclaimed violinist, David Juritz, Grammy-nominated guitar virtuoso, Craig Ogden, pianist extraordinaire, Tim Carey, versatile Richard Pryce on bass and me on the accordion. We have performed concerts at the major UK festivals. Within the Tango quintet and the Piazzolla programme we try to include classical compositions which would feature violin, piano solos, accordion solos, guitar solos, double bass solos, sometimes, combinations of these. I mean, Piazzolla is great, and we wouldn’t be playing it if it wasn’t but we find it works well to break it up with these with maybe two or three pieces in each set.

Do you try to perform works by composers which tie-in with Piazzolla like, say, Ginastera or someone else South-American.

Sometimes. Sometimes we might do a Guitar Concerto because when you have five players with Piano and Accordion anything is possible with that combination or maybe a Violin Concerto, or maybe even one day an Accordion Concerto (they chuckle)!

From an audience point of view, as well as Piazzolla, we like to give them a feel of what each individual instrument can do, to show maybe where the limits might be for the individual. Also with tango, as I mention earlier, with that kind of music I’ve found that, that is what we have in terms of similarities with string players, who have string quartets on a regular basis. That’s where we can explore our musicianship, like in chamber music, in a quintet, with other players, and not just with Piazzolla, which is great, but also doing other arrangements because…it’s a very intimate combination and if it’s arranged well you can really have fun.

Then there’s Paprika where three of us come from Serbia, one from Romania, and two from the UK and we are all amplified! (He laughs). But Paprika is doing mainly eastern European music. Paprika consists of Bogdan Vacarescu (Violin), Zivorad Nikolic (Accordion), Vladimir Strkalj (Guitar), James Opstad (Bass), Simon Roth (Percussion) and me. We unite traditional Eastern European, Balkan, Gypsy and Classical Music. We have toured extensively across Europe, Australia, New Zealand and Japan, and have featured at WOMAD festivals in the UK, Spain, Canary Islands and Abu Dhabi. In the UK we have given concerts at the Purcell Room (Southbank Centre), Royal Albert Hall, Sydney Opera House, Glastonbury Festival, Edinburgh Fringe and EXIT festival. We focus on bringing rare and lost traditional Balkan music back to life. In 2012 the band appeared on BBC World on 3 and Radio 5 Live. Highlights in 2013 have included performances at the Kings Place London, Bradford Festival as well as at the Cheltenham Music Festival. Then there’s myself and Zika [Zivorad Nikolic], that’s another project, who play together in a duo for a couple of years now…well actually we’ve been playing together for twenty years actually since we’ve known each other (he laughs). We focus on original works, masterful arrangements for classical accordion as well as Eastern European music and Argentinian Tango. While studying at the Royal Academy of Music we performed concerts across UK and had appearances numerous festivals including the Norfolk and Norwich Festival and the Devizes and Deal Festival. In 2009 we were selected to perform for Yehudi Menuhin’s charitable scheme “Live Music Now!” which supports young musicians of all genres at the outset of their professional careers while making high quality live music as widely accessible as possible, and we continue to be part of the scheme.

What do you call this duo?

Accord Duo. With Zika, we grew up together, we are best friends, and for many years we played mainly folk music, always for fun, then obviously studied classical music, he went to France, I came here, we kept in touch, then he came here to London as well and we are together pretty much all the time now, every day and thank God we are working in the same profession so we are seeing each other very often, otherwise it would be harder because we are all very busy. And even with Accord Duo we do classical music, tango and eastern-European music and within a concert there is something for everyone from folk to contemporary music, I mean, you can’t get a bigger range within one concert. (He laughs). About six years ago, while I was at the Royal Academy I was asked to join and play with Paprika which back then was violin, guitar and bass. I was already busy at the Academy and I didn’t know if it was the right time for this as I was thinking about how much I could actually stretch myself while studying but when I heard the CD I thought, wait a minute (he chuckles), first of all they sounded really great as a trio and also in the selection of pieces they played, which were familiar to me but also very good, so I spoke to Zika, who was also very busy with a project called Fugata at the time and other projects already running, and he said the same thing when I mentioned to him that we should go to hear them. Even at the Academy we played this music for fun, never professionally. It was something we could do at 3 am but never something we wanted to do professionally, because being a folk musician in Serbia and being a folk musician here is totally different because there you play from 3pm to 1am and you need to know every single thing and if anybody asks for any song you have to be ready. You need a particular skill and even though we could play it, that sort of lifestyle is not something we wanted to do. But then we went to hear Paprika and he was impressed and I was impressed. Initially they wanted only one accordionist but I said to them that I was happy to come and play but that I wanted to have two accordions. I would come but on the condition that we had two instruments. They insisted that they only wanted one but I told them to trust me that two would sound a lot better and I’m happy that I was right. They quickly realised too that two were much better and then it was a very unusual combination because I agree, no rather, I understand that one may have been enough, but lots of groups we came across in festivals had one and they were surprised at two but when they heard they realised too.

With Paprika we did lots of Word Music festivals in the UK especially in the early stages and that was really great experience because that music, again I would say, is music for everyone. When you compare it say to, even, to my taste, Classical music is for everyone but Contemporary music isn’t really, it’s for a specialist. It’s, like folk music from anywhere else in the World, for everyone. We did these festival in the UK where we would do two or three sets and that went really well. WOMAD was one for those festivals.

Ah, yes I played at one of those with Gilad Atzmon. No actually it was WOMAX in Seville not WOMAD.

Yes there is WOMAX too. WOMAD is one of the great festival we did here and we did also EXIT – a World Music festival in Serbia. But WOMAD we would actually be in the same way performing in the UK, in Spain, in Ireland, in Australia and that took us on to other countries as well like New Zealand. The music and the arrangements became really popular then we added percussion and two guys from the UK who actually play as if they were from the Balkans! (He laughs) They are the bass and percussion section. Now we do lots of Classical Music festivals as well. I’ve found that Classical Music festivals were a little bit scared to programme folk music a few years ago or they would programme it around World Music but now they have Classical Music, Jazz and World Music which includes Folk and we would come under that category. They players are Classically-trained so sometimes we might play a couple of Classical pieces but normally we would cover music from Serbia, Bulgaria, Macedonia, Romania, Hungary, Greece and also we do our own arrangements look for music and go back as far as we possibly can to find something. Again it’s a really good combination, two accordions, violin, bass, guitar and drums so it’s totally unlimited what we can do.

So how many concerts are you doing per year with your four ensembles and you own solo career?

It’s hard to say. The numbers are say, quality against quantity. What is interesting is that life is never boring. From one week to the next you are jumping from one style to another. You have to be very quick.

In the past when I have been in situations like that I found it sometimes quite difficult to adjust. I remember a time where I had lots of solo concerts, then playing with a contemporary jazz band – Gilad Atzmon and the Orient House Ensemble, then doing Roland V-accordion presentations, then anything that came along, theatre, orchestras…I enjoyed each discipline like maybe in some instances, just watching a conductor and playing where the responsibility is by and large his. Then you come to a solo concert where you have to be really on top of your pieces and the responsibility for interpretation is all yours. It’s tough.

It’s not easy. It’s not easy because it’s a really huge spectrum, the repertoire you have to cover. The majority of people that I work with are all free-lance musicians and we all work in a similar way, we all have different projects running at the same time and there are probably in a year between 80 and 100 concerts. Which is quite a lot and every week. I mean these are standard instrumental combinations apart from different ensembles which are “on and off”, you know, you work with them on a regular basis but maybe once or twice a year.

Yes, they call you when they need you.

It just be an Opera project, workshop then performance, next year it might be new pieces for a really interesting instrumental combination that requires accordion, then recording sessions for different things. It’s not easy but that’s why I’m playing and practising has to be constant otherwise there is no other way. You always have to work ahead. To have things already in your mind before you arrive and actually play. Playing I think is a pleasure, with all the people I work with. Travelling is difficult and that’s where the energy is going but I find that covering a broad range of repertoire makes you stronger and happy to be able to explore more.

Another project that I have coming up is with Julian Bliss the clarinettist and that is something which will be totally different again, I mean we will, still cover some classical, tango and folk music but it’s a combination and an instrument which I really like. It’s a nice sound world.

Is the split between solo work and ensemble work equal?

Solo work always requires more time. I try to explore this every day and plan ahead what I will do. I think with all the different groups the split between them is roughly equal.

Do you have any particularly memorable concerts that stick in your mind?

It’s really difficult to choose. There are concerts where you felt emotionally because you have friends, you have family, and it may have been a significant time of your life. One of them was in Serbia just before I came to London, I had all friends, family, teachers and it was the last one before leaving. Then the same thing happened again in the same place a couple of years later where I performed contemporary repertoire totally different from what I had played a couple of years before and they all came again and listened to something new. So it was pleasurable being there again and playing for them but at the same time there was pressure to bring them something new which you learnt somewhere else and you are bringing back to play. Then in London there were very many. Huge support from Owen [Murray] with all concerts but especially in the early days in 2004 with the Park Lane Group concerts.

Gosh! Was that 2004?

Yes. Long time! It’s great to play at great venues and concert halls and that’s all brilliant but actually Zika and I, and also with Kosmos we have been part of the Live Music Now scheme where we played concerts in old people’s homes, in hospitals, for children with special needs, and you can trial the repertoire and gives you experience in talking with the audience. It’s something that we would never have done in Serbia and is something which you have to learn to do. The minute you sit down you have to concentrate on playing not talking. We’re not actors or public speakers but it’s quite an interesting thing to do because obviously when you play to a musician they are ready, they are prepared they may know what is coming but when you play to people who haven’t heard the instrument or the repertoire it’s important and it makes a huge difference. We did a lot of concerts for special-needs children which were very memorable in my mind. Everyone would aim to play at the Wigmore Hall or Royal Festival Hall which is great but when you perform a concert for special-needs children and you see that they are happy and that you’ve given them something else, of course you do the same with any audience but they come to your concerts regularly but these kids don’t. They maybe get it once in a year, if that, and that’s a very special feeling. Zika and I had a couple of concerts together where we felt just that it was great what we were doing and if you can actually do that it makes you feel special.

I understand that recently there has been something else that will make feel special too. A special award from the Royal Academy of Music!

Yes, this year [2014} I have been elected to be an Associate of the Royal Academy of Music (ARAM). This is awarded to former students of the Academy who have made a significant contribution to the music profession.

And well-deserved too! You mentioned before about playing at Classical Music festivals and also just now you mention the Park lane Group. Previous generations of accordionists have tried to pave the way to this and now your generation have really knocked down the barriers and proved to the Classical music establishment that this is an instrument to be taken seriously. You’ve also done your share of competitions and had your successes there too. I remember when Borut [Zagoranski] played in the Park Lane Group Competition at the Wigmore Hall and they announced at the end that if they could have given the prize to two candidates they would have given it to the pianist and the accordionist but ultimately gave it to the pianist. No reason was given publicly but when pressed by some annoyed members of the audience they replied that it was because the accordion didn’t have enough repertoire to sustain a full concert. This was ignorance on the jury’s part. From that moment on though I think things have kind of changed because the competition has since been won by accordionists and some of these judges in competitions, outside of the exclusively-accordion world, by that I mean competitions where accordionists compete against other instrumentalists, discover for the first time maybe what a great instrument it is. Yes, people like Owen Murray laid the foundations and started the ball rolling but it has taken till your generation for it to finally happen maybe 20-30 years on.

I remember when Owen first introduced me to the Park Lane Group he was looking through old documents and programmes in his office and showed me the flier from the 80s where an accordionist from the Academy, Neil Varley, competed and I remember thinking wow! Even back then at that early stage of the development but then we’ve had Rafal [Luc}, Borut {Zagoransky], Ksenija [Sidorova], Martynas [Levickis], pretty much every year, like years in a row they knew what to expect, and what was great was that music critics were aware that every year they would see one.

Yes, they didn’t think it was just a one-off.

I remember when I did it so many critics were there maybe 6 or 7 just for one concert and they said this accordion is the Rolls-Royce of accordions, later on the reviews were more like they knew what to expect, and the repertoire. They began to treat it less like something which is not normally seen but something that was already established so they could treat the players [as musicians] and really get into the music when they review. I do it all the time and I’m sure you do too, when in a concert you talk about the instrument but there must come a time where you just get on the stage and play…

…because then everybody will already know about the accordion.

I was working with a conductor recently who is really well-known and was travelling a lot and heard an accordionist at a concert, and just before he started playing the instrument he introduced it and was talking more than he was playing and the conductor was thinking to himself, “just sit down and play, I want to hear it”. (They laugh!) We must aim…and obviously this is work that needs to be done before, but at the moment when we sit down and play we have to do it so that they will realise what is coming up and what it can do. The instrument itself is so versatile. You know, there is only one piano and everybody knows what is going on but there are many types of accordions, so they are not sure and that’s what makes people fascinated. Now we have been talking about the association [UKAAT- United Kingdom Association of Accordion teachers] and that is also putting the accordion in the spotlight. I think what is interesting in Serbia is that there are a lot of folk players and there are a lot of classical players too. In order to be popular on every single level it has to be played at every single level. I don’t believe that only top players are…you could call them “responsible”, there are, for instance so many pianists, professional, amateur, players at every level and still, after so many centuries they still have conferences, they still discuss how they are going to promote it in the right way, for young people, for adults and for older people. It’s essential to be present at every level not just at the top level. I also don’t want people to be scared if they hear someone at a professional level. Some people play because they love it and that’s not their job just like I’m not an actor. If I’ve got to speak a bit it doesn’t make me an actor. When that happens in the UK, when it’s accepted at every single level it will be better for everyone. It’s a big, big family and because I’m surrounded by other musicians I’m aware of what is going on in different professions with different instrumentalists. They all have difficulties teaching and promoting their instrument as well.

I think that now, apart from say The Classical Brit Awards, instrumental music in general, and I say instrumental rather than Classical because so much of The Classical Brit Awards is actually isn’t purely Classical but rather crossover music, has been absent in all musical genres. Pop music too. In talent shows in the 70s on Television when I was growing up like Opportunity Knocks, one would often see instrumentalists. It may not have been music of a high cultural value but often just a good instrumentalist playing something like a popular classic. Nowadays modern equivalents like X-Factor are really just about singers. Generally, instrumental music has suffered over the years. Now through channels like The Classical Brit Awards or Classic FM Radio, who don’t always feature purely Classical music and promote ‘crossover’ music too and like you say these Classical Music festivals which also feature Jazz and Folk are really the few exceptions. All instrumentalists find it tough to promote their instrument.

I think that there will always be work for musicians who want to work but it’s very important nowadays to be versatile, to be able to jump and be on the fire when they need to be on the fire because sometimes that fire will be very hot…

That’s something that, being based in London, you have to be able to do. Many years ago one could just specialise. Maybe someone would be primarily a jazz accordionist, or a folk accordionist, or play musette accordion, now you could be playing in an orchestra one day, in cabaret the next and in a Jazz ensemble on another day the in a theatre on another. Teaching students one has to prepare them for anything really. This is hopefully what UKAAT, which you’re a part of wants to achieve. Take free-bass for instance. It’s pretty much expected from most arrangers, musical directors, conductors that you play what is put in front of you and you make no excuses that your instrument doesn’t do that. You have to know free-bass. It’s expected. That’s why we have to teach it as soon as we can to our students.

Yes. In folk music we don’t usually use it but could use it. We should be afraid of standard bass either. In Paprika what Zika and I can do with our left hand it takes a bass and guitar to produce. For music which is accompaniment it’s a wonderful thing.

I agree, an amazing invention.

You amplify it and you get a full on sound. But composers are especially attending contemporary music festivals. Their works are performed there. Some works have accordion and some don’t. They are able to hear what the instrument can do. Then you get asked to do an opera or ballet and you accept it and you think it will be fine and then when you get the music you think “My God! I thought it would be a bit easy or something that will work” but instead it’s not. They will often know someone who plays or they listen to Youtube so they hear what is possible and what isn’t. In the last few years I got so many scores which did not require any editing and all you have to do is sit and practise it then go and do it and it will sound great. At the Academy there were so many composers who knew about the accordion. We used to do City University workshops for years. Hundreds of composers were there for the seven years I was there for and for many years before me. It’s a good thing.

You can use it in any music not just Classical and Contemporary. I use it in cabaret, I used it a lot with Gilad in Jazz music, often in unison with the right-hand or carrying another melodic line. Equally the possibilities of standard-bass need to be explored and taught fully too. There are some countries in the world where players who are often regarded as top players are really only right-hand players because they play with a band or ensemble. Their left-hand playing on standard bass is usually poor. Standard bass too should be fully explored and well-played.

It should be well-played, I agree there. In Folk music there is often accompaniment, accompanying a melody when it’s an accordion, and then strings and winds. In Serbia, Bulgaria, and Romania, playing this instrument is a really physical job, it is for us too but playing there requires standing for 10 hours. Sometimes they take out the left-hand mechanism completely to make the left-hand lighter and just use the left hand for air and I agree that their right-hand is brilliant but in Classical music it’s difficult to compare to because there are so many things you have to be aware of, so many little details that you have to think about and take care of…difficult in their own way. Some folk music can be very difficult for classical players and is a style that needs to be studied…I mean there is no academy (he laughs), you have to do it yourself but I agree, with the left hand in the Classical world both in transcriptions and original works, becomes something else. The hands are equal. In folk, the right-hand is very dominant. There are players who use the left hand and there are players who use the bellows in a more sensitive way…but there are the ones who don’t too (they laugh again)…and that can also apply to the Classical world too! They are worlds which are very far away from each other.

Strumenti&Musica readers always like to hear about technical aspects of the instruments the interviewees play. You play C-griff Right-hand and C-griff Left-hand but I know that your friend and colleague Zivorad Nikolic plays a slightly different system…B griff Right-hand and C-griff left-hand! Which is the most common system in Serbia?

I will tell you a funny story about systems now. I don’t know if you know but I am really into cars. I love cars.

Really, what kind of cars?

Most of them in general, well not all of them. I could drive all day. I like sport coupès but more as a piece of engineering. I say this because in Serbia we drive on the right-hand side of the road and the steering wheel is on the left but here in the UK it’s the opposite but the principle is the same. With systems I don’t see something as being harder or easier. In Serbia the majority of teachers started playing on piano-accordion, even when they went to university in Russia, Ukraine or Slovakia they still played piano-accordion. I started playing piano-accordion when I was eight or nine years old. Then two years after my teachers recommended button accordion. Then about a year after that they told me that my instrument was not good enough and that I needed a professional accordion because my instrument was really bad. Of course then the price went up too and the situation in country at the time wasn’t good back in 1991. So the price went up and they said I needed a small instrument but a professional one. Then the price was sky-high and they didn’t have the instrument with B-griff system which is the system used most in Serbia with six rows of button keys. The B system and Piano is the most common in Serbia. Then they said that they found an instrument which would be great for me, very light, even though it was extremely heavy (he laughs) light and small, but it was a Zero Sette which back then nobody had really heard of. They said that there was a problem though because the system was different. So my parents, who work in different professions, were happy to take the advice given to them. They asked what they meant by that and they were told that it was a different system that nobody played in Serbia. They asked me and I don’t think I was able to say also what was best. I was ten. They didn’t have the B system and I would have to wait for another year for one. The teachers had lined up events and competitions which ideally they would have wanted me to prepare for and if we waited for another year that would be another year lost. They thought that maybe we should go with that instrument. So I said ok. We went to Castelfidardo straight to the factory and I picked it up. Totally different. The first thing I figured out how to play one of the Serbian folk tunes on the C system. Well, I thought it was a little bit different but…

Did your piano-accordion at the time have free-bass?

No, nor did my second B-system button accordion. That was in the third year of primary music school. Then in the fourth year I got the instrument and I started learning C-system right hand. Actually it only took me about two months, not that long, because when you’re young everything goes much faster and you are motivated. It was a new thing for the teachers then. I was really happy to have been through all systems and work out, even nowadays, what is convenient and what isn’t…and that’s why I mentioned driving, you can drive on any side of the road, you can play on any system if you work hard and work out how and if it is good for you. I have lots of friends in Serbia who have changed from Piano to Button but I have lots of them who stayed on piano and should never change because for them it’s just perfect like I’m sure it for you. It just suits their hand perfectly. My teachers were all piano-accordion players but they could manage to teach me buttons too and give me a hint of what I could do and then I could go on and discover. I think what I find is that there are limitless possibilities on both. There is no good and bad but having crossed over to buttons and battled through all systems I find that C System is a bit closer in hand position to what I like. The left hand is already limited in its position and so the right-hand has to be totally free and I find that the right hand position on C-System is closer to the hand position on the piano-accordion than the B-system. Then of course there is the range and there are people who have fingers who can stretch more than I can but on buttons I can stretch 3 octaves which on piano I can just manage over an octave. For me it did work well. But I have come across and have been with them on stage, piano-accordion players which, as people like to say, they steal the show and they are not in any way…you know if they have to choose the repertoire they can do it really well and that’s not going to be noticed in any way on the concert platform. They can do it brilliantly well just like all button players and can be as good or even better. There is no limit what one can do but I’m happy that I covered all systems. On C System I spent the most time so I would never change, I would never go back…for fun yes (he giggles).

I’m doing this with my kids at the moment. Both Valentina and Giacomo have lessons with me occasionally but more regularly with Owen Murray. I teach them pianoforte but they are learning C-System button accordion. I know enough to start them off with scales, arpeggi, simple pieces etc. but it’s good that Owen is teaching them too. They listen more to him! But I’m doing what your teachers did with you. The rest is about playing the accordion not about systems. They have loved listening to Martynas’s CD and after hearing it all summer on the way to and the way back to Italy I had to arrange Nossa Nossa for them and then they want to play Lady Gaga on the accordion too. But it’s great that they are keen because they can learn some technical things from this music too.

Yes, yes, (He laughs). There has to be something that…gets their hearts beating, something that will not mean you as a parent have to push them but they will push you. Nobody in my family ever did anything musical but I had lots of friends to play with and who actually we now still play together. When you grow up in that environment it’s easier. My parents were surprised when I wanted to do that. And it wasn’t even the accordion. I had a guitar with virtually no strings on it and I stood up in front of the band playing folk stuff. They were amazed, but even that was not enough. They thought that it would just be a phase and tomorrow he might like football or something else. They mentioned that they knew someone in the music school and I never stopped asking. But if I think back, I had an accordion which was just a toy, a saxophone, a guitar and the accordion was the one which was, in a way, suggested. That was great and I loved it.

The last thing I wanted to ask you was, what is next for you?

Next, yes! (He laughs loudly) There is always something next. I think…we talked a lot about chamber music. I’m really happy that that is, in a way, established. Being in London and working with the people that I work with I’m really privileged to hear what they do and to learn about pianists and what they really do, what they play, to learn their repertoire even though with the accordion repertoire there is always something that you will discover all the time. Still, to hear pianists, violinists, cellists, viola players, clarinettists and so on, both in Contemporary repertoire and Classical, it’s great because that gives me ideas about what I can do with them, what I can do on my own, what I can maybe take and do on my own, and that means you do not just accordion-related work but you spread out your work. I’m happy the way that is moving. One thing which is happening with my solo work is a CD for Nimbus. It’s been in the pipeline for a year and a half now and while I wait for my passport situation to be sorted out I have time to plan it. I love live concerts and for so many years CDs were always too perfect for me. I love listening to old recordings where pianists or violinists are playing live. A little mistake here or there doesn’t distract me and doesn’t spoil the overall picture. Working with all the different groups I work with I actually had the opportunity to feel happy recording in a studio. It’s also experience. You know, if I like this room and I enjoy playing with the acoustic that’s what I want the audience to feel when they listen to the CD. In so many studios I wasn’t able to achieve that. Headphones are one thing but it’s so electronic and it’s all measured to suit that. With Nimbus it’s a concert hall where we’ll do the recording and I will be happy with the acoustic and with the production. They have never had accordion CD released in the past and have been very enthusiastic about the classical accordion. I was delighted to hear that they would like me to be the first accordion player on their label.

They are also happy for me to record anything I like… any repertoire. Not just to do just sonatas but mixing it up a little. So there is a repertoire waiting to be recorded and it’s something which over the years so many people have asked me for. So I feel I need to do it for the audience. Also recording is a spotlight on where you are at that moment.

I’m pleased to say you are part of UKAAT and you teach as well and do workshops with kids.

Going back to Serbia, the reason why it’s so popular is that it’s everywhere on every level even though now like anywhere else keyboards are taking over, it’s more convenient to get one person to do the job than six. Still, whoever wants quality can still get what they want and still get accordion and keyboard but it will be accordion first then keyboard not the other way around. I think in the UK the more the accordion is seen the better. We need all players and teachers to sustain that. In eastern-Europe because of the folk situation this isn’t a problem. It’s always being seen and nobody is going to ask what is that. Here sometimes people are surprised but I think now with Youtube people are more aware. Even I didn’t know how many accordionists there are in the world! I think it will just get better.

Milos Milivojevic, it’s been an absolute pleasure and thank you for your time from all the readers of Strumenti&Musica.

Thanks Romano!

Autore: Daniele Cestellini

Daniele Cestellini ha scritto 752 articoli.

This article is available also in: Italian



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2nd Competition of composition for accordion and/or piano

2nd Competition of composition for accordion and/or piano

The Cultural Association ITALIAN ACCORDION CULTURE - Premiere Voting Member of the CIA IMC - Unesco,[...]

“Bayan. Accordion. Garmonica.” Festival – Moscow 20/22 April 2018

“Bayan. Accordion. Garmonica.” Festival – Moscow 20/22 April 2018

The festival “Bayan. Accordion. Garmonica” takes place in Moscow region since 2013. This year the f[...]

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