Jump to content

John Serry Sr.

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by 209.177.21.6 (talk) at 14:24, 2 June 2008 (→The 1960s: The Broadway Theatre: pjs012915''Added link to Lehman Engel''). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

John Serry Sr.

John Serry, Sr. (January 29, 1915 – September 14, 2003) was a distinguished concert accordionist, arranger, composer, organist and music educator who achieved prominence through his live performances on the Columbia Broadcasting System (CBS) network.

Biography

Born Giovanni Serrapica in Brooklyn, New York of Italian-American parents (Pasquale Serrapica and Anna Balestrieri of Castellammare di Stabia, Italy), John Serry, Sr. pursued a remarkable artistic career which spanned seven decades. As a leading exponent of Latin American music and the free bass accordion, he attained prominence through live radio and television performances on the CBS network which were broadcast to millions of listeners coast to coast. In addition, he earned widespread acclaim as the featured soloist on the popular radio music program Viva America, which was broadcast live to South America under the United States Department of State's Office for Inter-American Affairs' (OCIAA) cultural initiative for Voice of America during World War II [1] [2] [3] [4] [5].

As a member of CBS' Pan American Orchestra (1940-1949) and Columbia Concert Orchestra (1940-1949), John Serry Sr. achieved national recognition as a professional concert accordionist and featured soloist. Several of his historic broadcasts with the CBS Orchestra (1949 - 1960) on the CBS network are available to researchers and members of the general public as part of the permanent archive collection of The Paley Center for Media ([1]) in New York. His professional studies were pursued with the 20th century composer and music educator Robert Strassburg (1915 - 2003) [6] ([2] (who studied with Igor Stravinsky and Paul Hindemith) and the theater organist Arthur Guttow (who was featured at the keyboard of the Mighty Wurlitzer in the Radio City Music Hall).

Through his extensive concert engagements over a forty year period, John Serry Sr. elevated the performance standards for his instrument at some of the nation's premier concert venues including: The New York State Theater at Lincoln Center (1969); Town Hall (1942); Carnegie Hall (1940s); The Empire Theater in New York (1953); The Majestic Theatre (1968); The Broadway Theater (1968); The Ed Sullivan Theater (1950s); The Plaza Hotel (1940's); The Palmer House in Chicago (1938), Radio City Music Hall (1933); The Rainbow Room at Rockefeller Center (1930s); The Starlight Roof at the Waldorf Astoria Hotel (1930s), the Biltmore Hotel in Los Angeles, California (1938) and such New York society nightspots as: El Morocco; El Chico and The Riviera in the 1930s.

As a composer and arranger John Serry Sr. recorded an LP album of original compositions and popular music for Dot Records (Squeeze Play 1956 (DLP3024) [3] [7]) and a second LP for RCA Thesaurus (1954) with Ben Selvin as musical director. These recordings featured Serry's ensemble The Bel-Cordions which included the accordionist Louis Delmonte. In addition, he recorded his composition "Leone Jump" for a 45 RPM record which was featured in jukeboxes nationwide during the 1950s and sold over 55,000 copies [4]. Several advanced compositions were also completed in the Symphonic Jazz genre including the American Rhapsody. Among his advanced compositions in the classical music genre Mr. Serry included a Concerto For Free Bass Accordion which demonstrated the robust orchestral sound of the solo free bass accordion. Also known as the Concerto In C Major for Bassetti Accordion, this concerto was dedicated to the memory of Julio Giulietti - a leading promoter and manufacturer of the free bass accordion in the United States who custom built an instrument for the composer.

In his role as a music educator, John Serry Sr. founded and operated a music studio in Manhattan and on Long Island, New York for over thirty years (1945 - 1980s). During this time he provided instruction on several instruments including: accordion, piano and organ. Many of his pupils emerged in later years as noted artists including: Gene Ettore, Bob Creash, Ralph Vetro and Robert Davine,[5] - the international concert virtuoso and music educator of the Lamont School of Music- University of Denver.

In order to demonstrate the accordion's potential to perform compositions from the classical music repertoire, Mr. Serry designed and perfected a unique Free bass accordion system in February of 1940 in a series of notorized letters. His design was based upon the chromatic scale and featured dual keyboards for the bass voice of the left hand. Each button keyboard incorporated the traditional fingering found on the piano. These twin keyboards accessed two sets of reeds which were tuned in octaves and provided a total range of tones from F to D which exceeded three and one half octaves. They were designed to be coupled and to provide independent access for the performer's thumb via keyboard #2 and for the remaining fingers of the left hand via keyboard #1. This design liberated the performer from the fixed chord structure which characterized the Stradella bass system and facilitated the performance of classical compositions.

Mr. Serry also enjoyed a thirty-five year tenure performing as a free-lance organist at the Interfaith Chapel on the Long Island University C.W. Post Campus in Brookville, New York. In this capacity he specialized as both a composer and performer of interfaith liturgical music (1968 - 2002).

Concert Artistry

In the course of his artistic endeavors, John Serry Sr. gave expression to a refined poetic artistry which illustrated the unique orchestral sound of the free bass accordion and the traditional stradella accordion. In the process, he established lofty performance standards which demonstrated the accordion's potential as both a legitimate member of the orchestral ensemble and a serious solo instrument suitable for the concert hall stage. This professionalism was also reflected in his advanced compositions which embody several American musical genres including Symphonic Jazz and Classical Music. These compositions reflect Mr. Serry's keen interest in the works of George Gershwin and Maurice Ravel. On the organ, his performances were conducted in the polished style of the American theater organ popularized during the 1930s/1940s.

As a modest and unassuming professional, John Serry Sr. upheld a high standard of musicianship and a strong disregard for the flamboyant "performance techniques" employed by many of the popular entertainers of the day (such as the exaggerated "bellows shake" and the excessively prolonged "gliss" or glissando). It was Mr. Serry's firm conviction that the accordion could successfully transcend its limited historic role in America as an ethnic folk instrument through professional performances with leading orchestral ensembles. His unique artistic vision and passion for excellence garnered considerable respect for his "orphaned instrument" among many of the top ranked conductors and musicians of his era. In the process, he acquired widespread acclaim as one of the most prominent and accomplished accordion artists on New York's musical scene for over thirty years (1940 - 1970).

The 1930s: The Big Band Era

John Serry Sr. collaborated and performed with a variety of leading conductors and arrangers who were also eager to integrate the accordion into the professional musical ensemble. During the Big Band era of the 1930s in New York City these included: Erno Rapee - conductor of the Radio City Music Hall Orchestra with John Serry Sr. as the first on stage accordion soloist (1933) and in subsequent years during the early 1930s [8]; Ralph Gomez - a Cuban orchestra leader in an extended engagement at the Rainbow Room at Rockefeller Center(1935) [9]; the Hugho Mariani Tango Orchestra at the Waldorf Astoria Hotel (1930s)[10] [11]; Alfred Brito - a Cuban orchestra leader in New York (1936) and Misha Borr - conductor of the Waldorf Astoria Hotel house orchestra periodically during the 1930's. He also performed as a soloist for society functions during this period in the Waldorf Astoria Hotel's exclusive Waldorf Towers and at its intimate Starlight Roof (1930's).

Mr. Serry received extensive national exposure as a result of his collaborations with the jazz conductor Shep Fields[6] and the Shep Fields Rippling Rhythm Band. Mr. Serry performed during a nationwide tour which featured live radio broadcasts from the Palmer House hotel in Chicago, Illinois and the Biltmore Hotel in Los Angeles, California over the NBC network (1937 - 1938). These broadcasts were noteworthy for utilizing the Zenith Electronics Corporation's innovative Radiogran technology. [12] His concert artistry with the Shep Fields Orchestra was also captured on-screen in a segment of Paramount Pictures' musical anthology The Big Broadcast of 1938.

During this period John Serry Sr. also served as Assistant Dean of Accordion and Harmony at the Biviano School of Music in Manhattan (1939) [13] [14]. In this capacity he provided advanced instruction to students who shared his interest in orchestral jazz.

The 1940s: The Golden Age of Radio

During the Golden Age of Radio in the 1940s Mr. Serry performed extensively on the CBS radio network in collaboration with several prominent concert artists including: Elsa Miranda [7] -vocalist on the CBS radio network (1940s) [15]; Marianne Oswald - (aka Marianne Lorraine)[8], a French chanteuse in a performance of works by the American poet Carl Sandburg at Town Hall (1942) [16] [17] and Alfredo Antonini ([9]) - conductor CBS Pan American Orchestra on the CBS network (1940-1949)[18] [19] and conductor for the Viva America [10] program on CBS for the Department of State- Office for Inter-American Affairs (OCIAA) [20] [21].

Mr. Serry's contributions to the advancement of classical music extended beyond radio broadcasting into the realm of grand opera as well. During the start of the decade Mr. Serry performed under the baton of the noted conductor Alexander Smallens in performances at Town Hall of Virgil Thomson's monumental composition Four Saints in Three Acts (1941).[22]

Mr. Serry also collaborated with several noted international concert artists including: Terig Tucci[11][12][13][14] - Argentine composer and musical program arranger/director for the CBS Pan American Orchestra broadcasts on CBS and to South America over La Cadena De Las Americas (aka Network of the Americas )[23] [24] and musical director for Macy's Latin-American Fair of 1942 broadcasts over CBS [25] [26] [27]; Juan Arvizu - the Mexican "Tenor with the Silken Voice" and bolerista on the CBS network (1940s)[15][28]; Nestor Chayres - a Mexican tenor aka "El Gitano De Mexico" on the CBS network (1942 & 1945)[16] [29]; Eva Garza - the Mexican songstress featured on Viva America for CBS/ABC radio [30]; Miquel Sandoval - pianist on the CBS network (1940s); and Marlene Dietrich[17] - in a performance of Lili Marlene on CBS radio, John Serry Sr. accompanist (1940s).

During this time Mr. Serry was featured on several popular network broadcasts including: The Gordon MacRae Show Star of Stars broadcast live from the CBS studio's Starline Roof (1946) featuring John Serry Sr. as solo artist; The Danny O'Neil Show featuring John Serry, Sr. as guest artist (1946); The Coca Cola Show on the CBS network with the Percy Faith Orchestra conducted by Percy Faith (1948); The Jack Smith Show (1947);The Jean Sablon Show (1947); and Studio One with the cellist Bernard Greenhouse - a protege of Pablo Casals[18] (1947).

Mr. Serry also collaborated with several noted recording artists of the decade including: Victoria Cordova vocalist and Alfredo Antonini conductor for a recording session on Muzak (1949); RCA Victor's transcriptions division for recordings of over thirty compositions by Mr. Serry's ensemble the BelCordions (four accordions supported by string bass and guitar) for broadcast over the NBC network (1946); and the Biviano Sextette in a performance for a series of LP recordings (1946).

Mr. Serry's radio performances were broadcast live to the general public in both North and South America over the CBS radio network. Several of them were even enjoyed in person by Eleanor Roosevelt and various high level South American diplomates during the opening ceremonies of Macy's Latin-American Fair of 1942 in New York City [31].

The success of these broadcast activities enabled Mr. Serry to establish a successful private music studio in Manhattan and on Long Island, New York. In the process, he was able to continue his performance endeavors while providing musical instruction in performance and harmony to thousands of students over the course of nearly four decades (1945 - 1983).

The 1950s: Live Network Television

During the early days of network television in the 1950s, John Serry, Sr. performed extensively at CBS as a staff member of the original CBS Orchestra (1949 - 1960) and an accompanist on several live network television programs including: The Jackie Gleason Show (1953); The Ed Sullivan Show (1959); The Frank Sinatra Show (1950s) and with the distinguished organist Billy Nalle [19],[20] on the prime time drama I Remember Mama starring Peggy Wood [21] (1953).

In an effort to take advantage of emerging technologies, Mr. Serry also collaborated with Mitch Miller at Columbia Records to produce an LP demo recording in 1951. He also collaborated with Julius Baker (first flautist for the Columbia Broadcasting Symphony Orchestra at CBS and for the New York Philharmonic) to produce another demo recording of his compositions "Desert Rumba" and "La Culebra" (1950) [22]. As television technology improved, he also joined forces with Andre Kostelanetz who served as the conductor on the Eastman Kodak Kinescope broadcasts (1951).

As a member of the famed Magnante Accordion Quartet, John Serry Sr. continued his performances as a soloist on such acclaimed network radio broadcasts as The Lucky Strike Hour, Waltz Time and American Melody Hour, often substituting for the founder of the quartet.

On the Broadway stage he joined Shirley Booth, Dino Diluca (an Italian romantic actor), and Lydia St. Clair[23] in a production of Arthur Laurents play The Time of the Cuckoo([24]) [32] [33] [34]. Mr. Serry served as soloist and Musical Director at the historic Empire Theatre on Broadway(1952)[35] [36] [37].

As a result of the widespread popular appeal of these endeavors, Mr. Serry made efforts later in the deacde to present his music to a wider audience through the use of new high fidelity recording techniques. With this in mind, Mr. Serry composed, arranged and performed several popular compositions for Dot Records with Al Caiola [25] on his album Squeeze Play [26] (1956). He also recorded for Decca during this time and collaborated with Ben Selvin at RCA Victor to produce a second record album entitled RCA Thesaurus (1954). Sonora Records also released over 55,000 copies of his composition Leone Jump as a single record which was featured in jukeboxes nationwide. These activities led to Mr. Serry's nomination to the "Who's Who In Music International" in 1958.

The 1960s: The Broadway Theatre

The 1960s ushered in a new era of popular entertainment suited to general audiences. During this Golden Age of the musical theater, John Serry, Sr. collaborated on the Voice of Firestone with the conductor Howard Barlow [27](guest conductor for NBC Television in 1961) [38] and on The Revlon Revue (1960) for CBS Television.

Mr. Serry also achieved success in such acclaimed Broadway productions as: Cabaret (musical) [28] at the Imperial Theatre (1968); Can-Can; La Grosse Valise [29] (1965) (composer Gerard Calvi, lyrics by Harold Rome, musical director Lehman Engel); The Happy Time ([30]) starring Robert Goulet at The Broadway Theatre (1968 Tony Award Best Musical) and Fiddler On The Roof -[31] starring Zero Mostel at the Majestic Theatre (1968).

During this decade he was also the featured soloist at private receptions hosted for the international diplomatic community by Mayor John Lindsay at New York City's historic Gracie Mansion (1960s). Extended appearances were also made with the Lester Lanin Orchestra [32] at the exclusive Plaza Hotel for a variety of society functions. In addition, Mr. Serry was invited to perform at private estates located throughout the Hamptons (1960s).

Mr. Serry also continued to perform for the general public under the musical direction of the bandleader Guy Lombardo at the Jones Beach State Park Theater on Long Island (1968). In addition, he performed as the featured soloist at the Seven Up Pavillion of the New York World's Fair at Flushing Meadow (1964).

As the general public's appreciation for classical music in the United States grew, Mr. Serry took advantage of additional opportunities to demonstrate his artistry in a formal classical concert venue. He served as the lead concert accordionist in performances of the New Ballet as staged to the music of Tchaikowsky at the New York State Theater - Lincoln Center (1969)[39] [40] [41]. The production was performed as part of the 25th anniversary season of the New York City Ballet and was choreographed by Jacques d'Amboise [33][42] [43].

The 1970s - 2002: Liturgical Concerts

During the course of the next thirty five years, Mr. Serry performed as a respected free-lance chapel organist at the Long Island University C.W. Post Campus [34] in Brookville, New York (1968 - 2002). In addition to performing regularly, he composed and arranged several compositions for the dedication ceremonies at the university's Interfaith Chapel.

As a specialist in interfaith liturgical music, Mr. Serry enthralled thousands of listeners with his performances and arrangements of music reflecting a variety of religious traditions including: Catholicism, Protestantism, Judaism and Eastern Orthodox. His artistry always reflected the conviction that the language of music is unique in its capacity to transcend all boundaries to unite humanity in peace.

John Serry, Sr. died after a brief illness on Long Island, New York in 2003 at the age of 88. [35]. His unique talent and love of music is shared by one of his surviving sons: John Serry(John Serry, Jr.)[36]-an international jazz pianist, composer, conductor and arranger.

Musical Legacy

Published Compositions & Arrangements

  • "Desert Rumba" (for accordion, 1939; publisher Antobal Music Co., 1951)
  • "Glissando" (for accordion, publisher Biviano Music Co., 1942)
  • "Tarantella" (for accordion, 1942; publisher Alpha Music Co., 1955)
  • "Valse" ( composer Pytor Ilych Tchaikovsky, arr. for accordion, 1946)
  • "Fantasy In F" (for accordion, publisher Vicas Music Co., 1946) [37]
  • "Consolation Waltz" (for accordion, publisher O. Pagani & Bro., 1948)
  • "Uncle Charlie's Polka" (for accordion, publisher O.Pagani Bro., 1948)
  • "The Bugle Polka" (for accordion, publisher O. Pagani Bro., 1948)
  • "Leone Jump" (for accordion, publisher Pietro Diero Publishers, 1956) [38]
  • "La Culebra" (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music Co., 1951)
  • "African Bolero" (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music Co., 1951))
  • "The Syncopated Accordionist" (for accordion, publisher/editor Charles Colin, 1952)
  • "The First Ten Lessons For Accordion" (for accordion, publisher Alpha Music Co., 1952)
  • "Accordion Method Books I, II, III" (for accordion, publisher Alpha Music Co., 1953)
  • "La Cinquantaine" (m. Gabriel Marie, arr. accordion quartet, publisher Alpha Music Co., 1954)
  • "Allegro" (m. Joseph Hayden, arr. accordion quartet, publisher Alpha Music Co., 1954)
  • "Junior Accordion Band Series" (arr. accordion quartet, publisher Alpha Music Co., 1955)
  • "Tango Verde" (m. Romero, arr. accordion quartet, publisher Alpha Music Co., 1955)
  • "Holiday In Rio" (m. Terig Tucci, arr. accordion quartet, publisher Alpha Music Co., 1955)
  • "En Tu Reja" (m. Romero, arr. accordion quartet, publisher Alpha Music Co., 1955)
  • "Tango Of Love" (for accordion quartet, publisher Alpha Music Co., 1955)
  • "Manolas" (m. Escobar, arr. accordion quartet, publisher Alpha Music Co, 1955)
  • "Petite Tango" (for accordion quartet, publisher Alpha Music Co. 1955)
  • "Garden In Monaco" (for accordion, publisher Alpha Music Co., 1956)
  • "Rockin' The Anvil" (for accordion, publisher Alpha Music, 1956)
  • "Selected Accordion Solos" (arr. accordion, publisher Alpha Music Co, 1956)
  • "Spooky Polka" (for accordion, publisher Alpha Music Co., 1957)
  • "Reeds In A Rush" (for accordion, publisher Alpha Music Co., 1957)
  • "American Rhapsody" (for accordion, publisher Alpha Music Co., 1957)

Unpublished Compositions

  • "Falling Leaves" (for Piano, 1976)
  • "Processional" (for Piano 1951; rev. for Organ, 1968)
  • "Elegy" (for Organ, 1984, revised 1991)
  • "Songs of Love #1, #2, #3" (for Piano and Voice, lyrics by David Napolin[39], 1986)
  • "Dreams Trilogy" (for Piano 1991)
  • "A Savior Is Born" (for Organ & Voice, 1991)
  • "The Lord's Prayer" (for Organ & Chorus, 1992)
  • "Five Children's Pieces" (for Piano, 1996)

Advanced Compositions

John Serry Sr.'s compositions in the Symphonic Jazz and Classical Music genres include:

  • American Rhapsody ( for Accordion, 1955: published by Alpha Music Co. 1957; transcribed for piano, 2002)
  • Concerto For Free Bass Accordion (for Accordion, 1966; transcribed for piano, 1995-2002, unpublished, aka Concerto in C Major for Bassetti Accordion)

Albums

Filmography

Bibliography

  • Serry, John. "Accordions & Orchestras: Past Present & Future",Accordion World, November, 1937.
  • Serry, John. "Those Neglected Basses", Accordion World, March, 1939.
  • Serry, John. "Jazz And The Student Accordionist", Accordion World, 1964.

Archives

Several of John Serry Sr.'s compositions have been archived at the University of Rochester's Eastman School of Music - Sibley Music Library for research purposes. They are housed within the Ruth T. Watanabe Special Collections Department as the John Serry Sr. Collection [41].

In addition, several of John Serry Sr.'s live performances on the CBS Television network have been archived within the permanent collection of The Paley Center for Media in New York City [42].

Professional Affiliations

John Serry, Sr. was an active member of BMI, SESAC, Musicians Local #802 (1933 - 2003) ([43]) and The American Guild of Organists. For a brief period he served as a charter member of the American Accordionists Association (1938). He pursued professional musical studies with: Joseph Rossi (Accordion 1926 - 1929); Albert Rizzi (Piano and Harmony 1929 - 1932); Gene Von Hallberg (Counterpoint and Harmony 1933 - 1934); Jascha Zade (Piano 1945-1946); Arthur Guttow (Organ 1946) and Robert Strassburg ([44])(Piano, Advanced Harmony and Orchestration 1948 -1950).

Dual Citizenship

John Serry Sr. held dual USA/Italy citizenship.
United States Italy

References

  1. ^ The New York Times, January 8, 1941, pg. 18
  2. ^ The New York Times, January 1, 1942, pg. 27
  3. ^ The New York Times, May 10, 1942, pg. SM10
  4. ^ The New York Times, February 28, 1943, pg.X9
  5. ^ Time, June 1, 1942
  6. ^ The New York Times, November 18, 1945, pg. 50
  7. ^ Billboard's Music Popularity Charts - Reviews & Ratings of New Popular Albums, Nov. 1956, Pg. 22
  8. ^ The New York Times, June 27 1935, pg. 16
  9. ^ Accordion News, March 1935
  10. ^ The New York Times, August 12, 1936, Pg. 15
  11. ^ The New York Times, September 16, 1936, Pg. 28
  12. ^ The Los Angeles Examiner, October 9 1938, pg. 1
  13. ^ The New York Times, November 2 1941, pg. X6
  14. ^ The New York Times, September 6 1942, pg. X5
  15. ^ The New York Times, June 9, 1946, pg 49
  16. ^ The Nation, March 7 1942, vol. 154 #10
  17. ^ The New York Times March 1 1942, pg. 36
  18. ^ A Pictorial History Of Radio. Settel, Irving. Grosset & Dunlap Publishers, New York, 1960 & 1967, pg. 146, Library of Congress # 67-23789
  19. ^ The New York Times, November 5, 1983, pg. 34
  20. ^ The New York Times, June 9 1946, pg. 49
  21. ^ The New York Times, November 5 1983, pg. 34
  22. ^ The New York Times, May 28, 1941, pg. 32
  23. ^ Accordion World, March 1946, Vol XI, #11, pg. 3
  24. ^ The New York Times, January 18, 1942, Pg. 27
  25. ^ The New York Times, January 17, 1942, Page 30
  26. ^ The New York Times, January 16, 1942, Page 19
  27. ^ The New York Times, January 14, 1942, Page 24
  28. ^ The New York Times, May 5, 1941, Pg. 32
  29. ^ The New York Times, April 23, 1944, pg. X5
  30. ^ The New York Times, January 23, 1944, Pg. X9
  31. ^ The New York Times, January 17, 1942, Page 30
  32. ^ The New York Times, October 15, 1952, pg. 40
  33. ^ The New York Times, September 21, 1952, pg. X1
  34. ^ The New York Times, September 28, 1952, pg. SM18
  35. ^ The New York Times, October 16, 1952, pg. 37
  36. ^ The New York Times, August 27 1952, pg. 22
  37. ^ The New York Journal-American, May 25 1953, pg. 15
  38. ^ The Boston Globe,November 24, 1991, pg. A3
  39. ^ The New York Times, November 22, 1968, pg. 39
  40. ^ The New York Times,November 17, 1968, pg. D10
  41. ^ The New York Times, January 12, 1969, pg. D4
  42. ^ The New York Times, December 8, 1968, pg. 162
  43. ^ The New York Times, January 10, 1969, pg. 38
Retrieved from "https://en.wikipedia.org/w/index.php?title=John_Serry_Sr.&oldid=216628147"