Beautiful transcriptions for classical accordion of Ludwig Van Beethoven’s works
Just two years had passed since the death of Ludwig van Beethoven, when in Vienna Cyrill Demian registered in 1829 the patent of his Akkordeon, an instrument that only in nuce held a so great technical and sound complexity which then matured over time to configure the modern concert accordion. Almost two centuries later, the accordion offers Beethoven, on the two hundred and fiftieth anniversary of his birth, the originality and the sound plasticity of a polyphonic instrument, with its sustained sound and its immediate dynamic variability, an instrumental synthesis of the expressive modes of keyboards, wind and string instruments.
From the output of the composer the project selects some of the works which can best accommodate the contribution of the accordion and which then lend themselves to a kind of new creation, both on a writing level and on that of performance practice, ranging from some of the most popular works to those rarely heard.
Thus the Accordion for Beethoven collection integrates a transcription repertoire in which becomes a new reading of the original work, at times the rewriting calls for the accordion to express itself more in its nature as an instrumental ensemble than in that of the modern portable organ, as a testament to the attention to instrumental music and orchestration in which Beethoven’s work is steeped.
(Concert artist and Professor of Accordion at Conservatory Ottorino Respighi of Latina)
1 – Sei variazioni su “Ne cor piú niente sento” WoO 70 – Ivano Battiston
2 – Ich Liebe Dich WoO123 Roberto Fabbriciani, iIvano Battiston
3 -15 Piccoli Pezzi da WoO13, WoO11, Woo 31 Ivano Paterno
16 – Adelaide op46 –Liana Maeran, Ivano Battiston,
17 Preludio WoO 55 Ivano Paterno, Ivano Battiston
18-22 Fünf Stüke für Flötenuhr WoO 33 Patrizia Angeloni, Umberto Turchi
23 – Schöne Minka op. 107 No.7 Roberto Fabbriciani, iIvano Battiston