Purcell on Accordion

[Walker]

My favourite Classical composer is Purcell and here's a new recording I've discovered played on bayan by Vyacheslav Nedosekin.

'A New Ground' is one of my favourite tunes to play. This is the only version I've heard played by another accordionist and it's excellent!



I really like the way Nedosekin has arranged the piece for bayan/accordion. In the original score for harpsichord the ground bass starts its pattern in single line quaver structure before developing with the addition of subtle sustained notes that bolsters the left hand orchestration. But here, for the most part, Nedosekin continues with the more straightforward structure of the single line quavers. It is only in the second section of the piece (first time through only) at about the 1.03 mins to 1.37 mins mark that Nedosekin finally adds the left hand sustained notes into the ground bass, and it fortifies the bass line warmly. He then returns to the pared back single line of quavers in his arrangement of the piece. I think it's a really clever way of treading lightly and keeping the piece elegant and perhaps also a nod to the subtlety that occurs on piano or harpsichord where sustained notes decay quickly. I guess there is the possibility that if the piece was played exactly as written, with all the sustained notes, on accordion, it could begin to feel a little heavy.

Would be interested to hear thoughts on this interpretation of 'A New Ground'. What do you think of the arrangement and performance? I'd give it full marks!​

 

[Tom]

I think it is a lovely recording Stewart. I am not very familiar with Mr. Purcell’s music but this is very relaxing and well balanced. I would have to find a fitting venue to play it, maybe a church or upscale art opening. Probably beyond my ability anyway though. I am glad you are introducing us to early Baroque for accordion. I do appreciate it more than the million notes a minute guys these days.

 

[Walker]

Thanks Tom, I'm mostly enjoying both folk & baroque these days.

'A New Scotch Tune' from the 1690s...

 

[Tom]

Thanks Tom, I'm mostly enjoying both folk-n-baroque these days.

'A New Scotch Tune' from the 1690s...

Oh yeah, I think you posted this on another thread, very nice!

 

[Walker]

When I first listened to 'A New Scotch Tune' and 'A New Irish Tune' by Henry Purcell I was really keen to find the music and I eventually found a book of his harpsichord pieces. It was only then I discovered how much of his work really appealed to me. I find it difficult to describe what it is about Purcell's keyboard music that beguiles me, but the 13 short pieces published in 'The Second Part of Musick's Handmaid' have a simple, unadorned beauty that seems just right to me. I love how each piece moves and how the lines flow and meander in natural shapes and contours. The accordion captures his style as well as any other instrument could, perhaps even better at times. The accordion, which really needs free bass to do these pieces justice, has a 'reedy' call that, at times, can transport you back 350 years in an instant.

To me, a tune like 'Sefauchi's Farewell' is nothing short of hauntingly beautiful on the accordion and yet no one plays this music... except me and Nedosekin. Maybe in time I'll record all 13 of Purcell's pieces from Musick's Handmaid.

Here's Nedosekin's performance of 'Sefauchi's Farewell'. Wonderful!​

 

[Tom]

Is it this book published by John Playford?

https://clara.imslp.org/work/329729

 

[Walker]

Playford first published 'The Second Part of Musick's Hand-Maid' back in 1689. I don't have a copy of the original anthology but I do have a new book called Henry Purcell, Complete Harpsichord Music (Book 2) Edited by C. Kite and it is one of the best music books I own.

I seem to have moved away from the phase of only buying books specially transcribed for accordion by expert teachers with fingering written out, as I feel like I'm becoming able to work out my own free bass fingering these days and it gives me the freedom to play what I enjoy.​

 

[Tom]

Playford first published 'The Second Part of Musick's Hand-Maid' back in 1689. I don't have a copy of the original anthology but I do have a new book called Henry Purcell, Complete Harpsichord Music (Book 2) Edited by C. Kite and it is one of the best music books I own.

I seem to have moved away from the phase of only buying books specially transcribed for accordion by expert teachers with fingering written out, as I feel like I'm becoming able to work out my own free bass fingering these days and it gives me the freedom to play what I enjoy.​

Seems like the “Music’s Handmade” is a series of lessons for learning to play the harpsichord. It’s very interesting to see the “hand written” score. I suspect your version has been cleaned up and typeset.

 

[Walker]

Seems like the “Music’s Handmade” is a series of lessons for learning to play the harpsichord. It’s very interesting to see the “hand written” score. I suspect your version has been cleaned up and typeset.

When we read of the harsh times and the turbulence during the 17th century it's good to discover that, at least in some parts of society, there was a gentler tradition of producing music books like 'Musick's Hand-made' for the hobbyist musician. It's lovely to know that some of the greatest composers of the day put effort into writing simple, beautiful music intended for the enjoyment of home keyboardists. Thus, the pieces Purcell composed in 'Musick's Hand-maid' were not intended to be complex, virtuosic works - instead they were accessible pieces with style, melodic beauty and engaging harmonies.
​

 

[Tom]

When we read of the harsh times and the turbulence during the 17th century it's good to discover that, at least in some parts of society, there was a gentler tradition of producing music books like 'Musick's Hand-made' for the hobbyist musician. It's lovely to know that some of the greatest composers of the day put effort into writing simple, beautiful music intended for the enjoyment of home keyboardists. Thus, the pieces Purcell composed in 'Musick's Hand-maid' were not intended to be complex, virtuosic works - instead they were accessible pieces with style, melodic beauty and engaging harmonies.
​

I suppose you could compare it to Anna Magdalena’s Notebook.

 

[Walker]

I suppose you could compare it to Anna Magdalena’s Notebook.

Well Tom, I'm no expert on the baroque period but it seems to me of all the trees that grew in the baroque orchard, none were quite as huge and bore as many fruits as J.S. Bach. Yet somehow, Purcell, whose most important contribution to music was not really his keyboard work, and who fell at the age of 36 years, well, he produced some of the sweetest tunes I ever did hear. Purcell was a little before the time of Bach and some say he influenced Bach, Handel, Mozart. All I know is I like his simple tunes.

 

[Tom]

Well Tom, I'm no expert on the baroque period but it seems to me of all the trees that grew in the baroque orchard, none were quite as huge and bore as many fruits as J.S. Bach. Yet somehow, Purcell, whose most important contribution to music was not really his keyboard work, and who fell at the age of 36 years, well, he produced some of the sweetest tunes I ever did hear. Purcell was a little before the time of Bach and some say he influenced Bach, Handel, Mozart. All I know is I like his simple tunes.

Interesting, thanks. There is a TON of his music on MuseScore. “Air in Dm” looks pretty good! So much music…..