Concerto for Free Bass Accordion

Concerto For Free Bass Accordion refers to a musical composition written by the noted musician John Serry, Sr. for solo free bass accordion in 1966. It illustrates the wide ranging orchestral qualities of the free bass accordion and underscores the suitability of the instrument for performances as a robust solo instrument on the classical concert stage.

Structure

The composition is written in the traditional concerto framework of three movements but without orchestral ensemble. It was the composer's intention to illustrate the vast orchestral tonalities and harmonic flexibility of the free bass instrument by showcasing its potential as both a solo instrument as well as an orchestral entity. With this in mind, the composer assigned the voicing normally reserved for the orchestra to the accordion soloist along with the traditional virtuoso solo passages.

The resulting composition is unorthodox in its structure but provides the virtuoso soloist with an opportunity to give full expression to the instrument's complete array of harmonic reed settings which reach from the high flutes through the oboe range into the clarinet settings and ultimately into the range of the violin and cello settings. This wide array of orchestral harmonics is artistically expressed for solo instrument throughout the composition.

The first two movements are coupled into a seamless segment. They are scored in 2/4 and 4/4 time in the key of C major marked Allegro non troppo. The Finale is also scored in C major in 4/4 and 3/4 time and is marked Moderato con moto.

The score for free bass accordion was premiered by a student of the composer (Joseph Nappi) during the American Accordion Association's United States Championship competition in 1964. The composition was subsequently transcribed for solo piano in 1995 by the composer and revised in 2002. It is described in the revised piano version below.

Compositon

First & Second Movements

The first two movements of the work are coupled together and scored in C major in 2/4 and 3/4 time marked Allegro non troppo. They open with a dramatic glissando ranging over two octaves in the treble voice which culminates in the statement of the main theme centered on two percussive chord structures. This leads to a series of rhythmatic arpeggios in the key of D flat minor followed by a series of descending sixteenth note groupings echoing the main theme. The theme is subsequently restated in the key of D sharp and eventually modulated into the key of F flat. The thematic motif soon descends ominously into the bass where it heralds a dramatic arpeggio in the treble voice.

Development of the theme now transpires in 4/4 time. Modulation from the the key of C major through G minor into D minor leads back into the key of C major and a return to 2/4 time. The theme is recapitulated in G major and developed as a scherzo marked Legato e dulce. A restatement of the pervasive percussive chords of the main theme ensues in the treble voice shortly thereafter. This culminates in a striking arpeggio and a return to 4/4 time.

Another series of glissandos in the treble voice ushers in a brief cadenza. This foreshadows a dramatic arpeggio which brings the two movements to a dramatic percussive conclusion.

Finale

The Finale is scored in the key of C major in 4/4 and 3/4 time and is marked Moderato con moto. A rhythmatic main theme is expressed mezzo forte in the treble voice through a series of sixteenth notes leading to a scherzo which is expressed in octaves. A series of key modulations expressed through ascending sixteenth notes from C major through E major into the key of B flat eventually leads the listener back to C major. This is supported by contrary motion in the bass voice. A recapitulation of the development with rising crescendo markings adds to the mounting tensions which characterize this movement.

The dramatic climax is achieved in the form of a striking glissando in the treble voice which heralds a sparkling arpeggio. A series of accented triplets in minor keys marked trepitoso forms the basis for a transition back into C major and the dramatic conclusion of the work.

References

A copy of this composition has been archived for research purposes within the Sibley Music Library of the University of Rochester's Eastman School of Music as part of the Ruth T. Watanabe Special Collections Department. Researchers may contact the Special Collections Librarian & Archivist at the library for access to the entire John Serry Sr. Collection of musical scores [1].