Dingo40 said:
Point taken, John.
I guess it’s horses for courses, and a wise performer knows their audience!
Hi Dingo,
The issue with a lot of accordion music, as you'll know, is that it is often indelibly linked to romantic bygone days. People in our generation obviously don't have an issue with that, and I get the feeling that these days classical music is probably playing a large part in keeping the accordion going with the younger set, certainly in some parts of Europe.
They say that the old classics never die, but for people like me who was never a devotee of the classics, I don't get the same "kick" out of listening to the stuff James played in that first clip. His musicianship and technique are obviously amazing, but I would rather listen to music I might just have a chance of being able to play some day.
Here in Scotland we still have an accordion culture centred around two basic styles. The folk players probably have an easier time of things with (slightly) more scope to improvise, but the country dance style is very exacting, and any player who dares to stray from the norm is generally treated with contempt. It is the audiences rather than the players who appear to control the repertoire, and I've never been able to play any musical instrument in strict tempo. If I'm not swinging the music or jazzing it up I just cannot play at all.
Some Scottish players are excellent and have very diverse repertoires, but the very core of their existence is still what is classed as "traditional" Scottish folk and dance music. If they cannot play either of those styles they may as well throw their accordions on the fire.
When I went to buy my first accordion in Scotland I was told that I would need to be able to play all of the typical Scottish dance tempos and I told the guy I wasn't interested. After he restrained himself from calling me a headcase he promptly advised me that trying to play any other style in Scotland would be a waste of time and effort, until I could play Scottish tunes at the demand of the audience. I was then asked why I didn't want a Scottish tuned PA, as I would "need" one to play with a teacher.
I eventually bought a French CBA, and taught myself to play as best as I could. I never made much of a job of it, but was just as content I hadn't been rounded up with the rest of the sheep for shearing.
Nothing against Scottish accordion at all, but I didn't like getting it rammed down my throat.
As you say, horses for courses, and all that.