MARTIN WEYDE
Hamburg, Germany
'S Wonderful !!!
THE FREE-REED REVIEW
In honor of the 100th anniversary of Gershwin's birth I would expect an outpouring of various recordings of Gershwin's music. But I commend this recording for not being a rehash of existing tunes and performances. We are used to hearing the huge orchestral rendition of the Rhapsody in Blue, but this performance returns to the original intent of Gershwin's music: a tight, intimate chamber ensemble composed of eleven student musicians and the solo accordion in the spotlight. And the performance recording did an excellent job of capturing that intimate feel through tight miking and thankfully restraint from electronic processing in the form of reverb to make the ensemble artificially "big".
Of course, for most listeners the first thought is, "How different--an accordion instead of a piano!" But after reading the historical liner notes from the CD, one will come to realize that it is actually not breaking new ground as prior performances have included the accordion. In 1928 accordionists Basil Fomeen and Nick Hope recorded the Rhapsody for Victor Records and in 1931 accordionist Cornell Smelser played the Rhapsody in its entirety over a national radio network accompanied by an orchestra of some forty musicians.
As for Henry's performance throughout the Rhapsody, I thought it was excellent. He was able to utilize the features of his free bass accordion and accomplished bellows technique to effectively create a performance that highlighted the characteristics and the attributes of the accordion.
Kudos on a most interesting and effective recording.
-- Robert Karl Berta
THE FREE-REED REVIEW
It would be dishonest to feign surprise at Henry Doktorski's most recent compact disc, for I was to some degree "in the know" when it came to his plans concerning an album of Gershwin pieces on the free-bass accordion. When I learned the featured work was to be Rhapsody in Blue, I became intrigued with the idea of shifting the solo voice from piano to a free-reed instrument. There would be some problems inherent in this transition that would require creative solutions, but at the same time I found myself excited by the expanded musical possibilities.
It is difficult to take music written for an instrument with finite sustaining power (the piano) and make it work well on one which has the ability to sustain tones indefinitely. The idiosyncrasies of the original solo instrument would be virtually composed into the music; tones that were meant to audibly diminish and recede into the background would remain obtrusively present when played on the accordion, changing the harmonic texture of the piece. To make such a transition work, the performer would have to have a discreet, self-critical ear as well as the ability to judge when to take calculated risks and leaps of faith. Fortunately, Doktorski has both a good aim and a good ear.
His uncanny aptitude for combining a sense of caution and adventure pervades Rhapsody from beginning to end. He manages to unite seemingly opposing camps of musical thought and gives us a fresh perspective on this piece, looking to both better realize a composer's original intentions at orchestration, and, at the same time, breaking with that intention by using a solo accordion! There can be only one reason he was able to do this so successfully; he undertook virtually all creative roles in the production of this recording: orchestra leader, arranger, soloist and producer. From this perspective, he was able to bring a single-minded focus and personal vision to his work.
The miscellaneous Gershwin songs that accompany Rhapsody in Blue on this album are easy to assimilate. In Doktorski's ingenious arrangements, the accordion takes on an easy, swinging vocal line with minimal elaboration, an approach that is both fluffy and refreshing after the frenetic "Jazz Age" energy of the main work. No doubt the performer/arranger could have turned each one of them into examples of Art Deco jet and chrome, but I preferred these sips of minted iced tea coming, as does Gershwin's birthday, at the end of a long hot summer!
On its cover, the accompanying booklet features a formal yet friendly picture of Henry Doktorski with his polished Victoria accordion. It is important to me to see a photo of an artist somewhere on his or her compact disk, and this one seems especially welcoming. The excellent program notes, by none other than William Livingstone, the editor-at-large for Stereo Review magazine, are focused and erudite, without a hint of the stuffiness that sometimes accompanies scholarship. They complement the overall concept of the recording very well and add what may be heretofore unknown musicological information concerning Gershwin.
All in all, I found this an interesting, thought provoking recording, solid and well crafted. I would recommend it to anyone wanting more than a cursory glance at Gershwin and his contribution to American art and culture. I do not believe the intention of the performer was to supplant or replace what has become tradition; rather, he sought to augment and expand our concept of the work. In that he has succeeded admirably. There is a clarity and honesty to this recording that most grand, orchestral versions lack. Where they obscure the Jazz and Ragtime roots of Rhapsody in Blue with their lush instrumentation, Doktorski and company have rolled up the rugs, wound up the Victrola and given us a veritable "cat's meow" of a genuine piece of 1920's Americana.
-- Gregory Vozar
JANPRESS PUBLICATIONS
Niles, Ohio
A Ragtime Rendition of Gershwin's Rhapsody In Blue is a testament to Henry Doktorski's constant search for creating something new and appealing in recorded literature for all of those anxious ears in the accordion community. This CD compilation fills a void that to our knowledge has never been attempted before. Once again, Mr. Doktorski uses his vast experience as an accordionist, pianist, organist, and music historian to put together a formidable collection of outstanding arrangements of Gershwin, one of America's most beloved composers. There is no doubt George Gershwin would have smiled on this project, which Henry has managed to carry off with elegance and finesse.
-- Joseph Natoli
WIRELESS AUDIO COLLECTION
A Catalog for Fans and Friends of Public Radio
Staff Pick
A program of Gershwin standards as you've never heard them before.
Award-winning concert accordionist Henry Doktorski has performed with
Perlman, Rostropovich, and other stars; his ragtime Rhapsody is
unique and exhilarating.
Throughout the catalog, we have spotlighted some extraordinary items as
our Staff Picks. These artists may not be a household name --
yet, but we think they deserve special attention because of the uniqueness
and quality of their work. The "pick" is our seal of approval, and you can
add these titles to your collection with complete confidence.
STEREO REVIEW
Fascinating Gershwin
Among American composers George Gershwin was unique in that he achieved
great success composing both classical and popular music. His Rhapsody
In Blue and An American In Paris are among the
twentieth-century works most frequently played by symphony orchestras, his
Porgy and Bess is probably the greatest opera by an American
composer, and his scores for Broadway shows and Hollywood films contain a
treasury of America's best-loved popular songs.
Released during the 1998 celebrations of the centennial of Gershwin's
birth, this recording by accordion virtuoso Henry Doktorski and the
Duquesne Chamber Players presents both sides of Gershwin's work. In
addition to Rhapsody In Blue, the first of his great concert works,
it includes selections from Porgy and Bess, and a group of his
songs that have become classic standards.
On the issue of authentic performance of Gershwin's music, Michael Tilson
Thomas, music director of the San Francisco Symphony and a Gershwin
expert, warns against slavishly imitating the past. "We must rely on the
instinct of the present-day performer to make the material on the stage
come to life, which is what the performer is always supposed to do."
And that is what Henry Doktorski and the Duquesne Chamber Players do
admirably on this disc. Doktorski's arrangements have the period ragtime
flavor of Gershwin's youth, but they are performed by the musicians here
with contemporary immediacy and the intimacy to make modern listeners
experience what Gershwin felt.
William Livingstone
Editor at Large, Stereo Review
PITTSBURGH TRIBUNE-REVIEW
With this being the centennial of the birth of composer George Gershwin,
who died in 1937, there has been a barrage of tributes to the man who
combined Tin Pan Alley with High Class Lane remarkably well. Accordionist
Henry Doktorski, who teaches at Duquesne University's City Music Center,
adds his on a disc.
A Ragtime Rendition of Gershwin's Rhapsody In Blue, however, does
offer a sparkling version of Rhapsody In Blue for accordion and 10
musicians, an even leaner version than the one Gershwin wrote for jazz
band leader Paul Whiteman.
Hearing the famous "Rhapsody" on accordion is wildly different from the
piano on which we're used to hearing it, but Doktorski carries it off
nicely.
PITTSBURGH POST-GAZETTE
George Gershwin wrote more than 1,000 songs, but none specifically for
the accordion.
That didn't stop concert accordionist Henry Doktorski and 11 Duquesne
University students from creating a squeeze-box-led tribute to the
composer just in time for the 100th anniversary of his birth.
Doktorski's A Ragtime Rendition of Gershwin's Rhapsody In Blue, a
compact disc featuring the full version of "Rhapsody" and 10 other
Gershwin tunes, was released this week by Alanna Records, joining several
other recent Gershwin CDs and dozens of special events planned worldwide
to honor the composer.
Doktorski believes his versions of Gershwin's works are appropriate. "This
recording is unique because the orchestra is just 12 pieces, which gives
it a ragtime feel," he said. "This is how Gershwin originally wrote the
piece, but it was re-orchestrated for a large symphony orchestra by Ferde
Grofe in 1942."
Although Gershwin didn't actually write for the accordion, Doktorski said
his music has always been popular with accordionists. In fact, the second
recording ever made of Rhapsody In Blue was released in 1928 on
Victor Records and featured the accordion stylings of Basil Fomeen and
Nick Hope. Unfortunately for accordion fans, it's no longer available in
stores, according to Doktorski, author of The Classical Squeezebox,
a history of the accordion in classical music.
INTERMUSIK
Kamen, Germany
Here is an especially recommendable new CD (on time for the 100th birthday
of George Gershwin): concert accordionist Henry Doktorski's recording of
A Ragtime Rendition of Gershwin's Rhapsody in Blue -- a homage to
this American musician and composer. Doktorski is accompanied by the
Duquesne Chamber Players.
Even today this style of composition demands a challenge for every
musician. It requires a high level of artistic flexibility and musical
talent as well as a command of unusual techniques and a wide range of
interpretation.
Doktorski exploits all of the distinctive abilities of his modern concert
accordion, including utilizing its full range of nearly seven octaves. In
quick passages, for instance, he uses the bellow shake technique. The
selection of pieces represents Gershwin's youth, such as Lady Be Good,
Summertime, Bess and I Got Rhythm. Doktorski and the Duquesne
Chamber Players try to make the modern audience appreciate Gershwin's
musical sentiments.
PETER SOAVE
Concert Bayanist & Bandoneonist
Detroit, Michigan
Let me start by congratulating you on your Gershwin CD. The sound
quality is superb, the concept/packaging is great, the arrangements seem
very "natural" and last but not least you should be very proud of your
performance.
I host a weekly radio program for the metro Detroit area which airs
every Sunday from 3:30-4:30. (The Accordion Hour on AM 1090) I featured
your CD yesterday and made sure to include label info for orders.
Now I'll also introduce your Xmas CD!
ANTHONY GALLA-RINI
Concert Accordionist, Composer, Arranger, Lecturer, Teacher
San Marcos, California
Dear Henry,
Two days ago I received the envelope with your CD and I have listened to it. I feel that you have produced a very outstanding and interesting CD and I
believe that it is a convincing tribute to George Gershwin and his
music. You have brought forward a fine performance of the piano
solo in Rhapsody In Blue from the interpretive as well as the
technical standpoint.
I never had the opportunity to hear those accordionists of the past
[Cornell Smelser and Arthur Metzler] who played the entire version of the
Rhapsody. I am sure that they could not have displayed the piece with the
amount of fidelity such as you have done unless they had an instrument
with the same left hand system as you possess.
Consequently, it could be that you may be the first to approach a
complete fidelity of the solo part as is possible on an accordion.
Your ensemble is to be praised very highly also for their fidelity to the
orchestral part of the Rhapsody. They faithfully brought out all the jazz
mannerisms that are familiar with the piece.
The CD is packaged very attractive and all the comments and information
are carefully included. All in all, this CD should sell very well.
Congratulations to you and to the ensemble.
PETOSA ACCORDION COMPANY
Seattle, Washington
Your new release "Rhapsody In Blue" sounds great. You are a great
asset for the accordion industry. We thank you.
TONI CHARUHAS MEEKINS
Author of "The Accordion" (published 1955)
Hague, Virginia
I ordered your Gershwin Rhapsody in Blue CD and found it to be
fabulous! The more I listen to it the more I appreciate it. The ensemble
playing is excellent, your performance on your converter free-bass
accordion is brilliant and your arrangements absolutely stunning.
Your interpretation captured the essence of Gershwin's music that
depicts the hustle and bustle of New York City, its sophistication and
its pathos. Gershwin is one of, if not, the greatest American composer.
All of the music on this CD is beautifully performed.
Although the ensemble is small it sounds like a full symphony orchestra.
The accordion shows up its best when used in ensembles and orchestras.
Your many register changes add so much color.
Henry you are an astonishing arranger. Your arrangements are reminiscent
of Montavanni. All you need to do is add a harp. You should do more
arranging and playing with ensembles rather than being a soloist. You
have already proven how gifted an arranger you are when you produced
your magnificent Christmas CD.
Again, you did a masterful job and all accordionists should order and
listen to this beautiful CD.
LEON ZUKOWSKI
Florida, USA
I received your CD's, Henry, and am awed by your talents! I give you
a standing ovation and loudly call out, BRAVISSIMO and STO LAT!!! Niech
zyje, zyje nam!!!
MARIE COGBILL
Kansas City, Kansas
Well, sir, I continue to thoroughly enjoy your CD's. What a wonderful
recording of straight-up Gershwin! I have a recording of Gershwin playing R
in B, & I've heard the performance with Paul Whiteman's orchestra. You
brought it back to its original life. In my opinion, it's a highly
significant contribution to the world of accordion recordings (& recordings in
general, for that matter).
JAMES WADOWICK
Founder of the Alabama Accordion
Association
Troy, Alabama
I received your CD two days ago, but only got around to listening to
it today at 1:00 a.m. You have done a remarkable job in reproducing the
score of Rhapsody with a small ensemble and the accordion as a solo
instrument. Since I have performed the piece as trumpeter in a symphony
orchestra, I am quite familiar with the music. . . . The playing is well
balanced and clean.
Great job!
TOM SULLIVAN Listened again to Henry Doktorski's new
Gershwin CD. Great piece of work by a pro's pro. Thanks Henry. BTW, that
is one heck of a violin switch you've got there :-).
JOE NATOLI
Niles, Ohio
I second that motion. Very fine recording, great playing, great arranging, and
well-programmed so that anyone is sure to enjoy the CD. A great
contribution.
ROBERT PATTERSON
Philadelphia, Pennsylvania
Dear Henry,
I liked your Gershwin CD so much that I bought a second copy for my
teacher, Dan Desiderio. He was also quite impressed. Perhaps you know
him; he's certainly one of the greatest accordionists I've ever heard, and
a fantastic teacher too. He conducts the Accordion Pops Orchestra, which
has about 30 members. He's asked me to join, but I am still weighing the
time commitment.
If you are ever giving any concerts out in the Philadelphia area, perhaps
you'd be kind enough to let me know. I'd love to go, and would take my
wife and 9-year-old son, both of whom also play.
SHARON MAROTTE
San Diego, California
I really enjoy your latest CD. Rhapsody in Blue is
awesome.
ACCORDIONS WORLDWIDE CD REVIEWS
Henry Doktorski is an accomplished pianist, organist, conductor, composer,
educator and concert accordionist since 1990 when he won the American
Accordion Musicological Society Virtuoso Solo Competition. He has
performed with names such as Rostropovich, Itzhak Perlman, Lorin Maazel
and Dimitri Kitaenko. As an author he has had articles and letters printed
in diverse publications and just recently completed a book titled The
Classical Squeezebox, a Short History of the Accordion In Classical
Music.
Although there are different arrangements of Gershwin's music for the solo
accordion, they are not often included in the accordionists concert
repertoire. Even more rare Gershwin's music is performed on the accordion
accompanied by chamber instruments. For this reason, I found this
recording very refreshing to listen to, as it gives us something new and
not often heard.
Besides the good arrangements, the accordion blends very nicely with the
accompanying chamber instruments. This in turn creates a sophisticated
sound picture and a very pleasant, relaxing atmosphere to enjoy this
music.
This would be a great buy if you are after 'easy listening' music and is
also a great contribution toward the ever expanding accordion repertoire.
|
