| | Martín Y Soler: La Capricciosa Corretta CD Rousset, Christophe CDS
Martín Y Soler: La Capricciosa Corretta Music | List Price | $33.97 (You save $9.32) | | Label | Na‹ve | | Orig Year | 5/18/2004 | | All Time Sales Rank |  25072  | | CD Universe Part number | 6729945 | | Discs | 2 | | Release Date | May 18, 2004 | | Recording Time | 2 13 |
Martín Y Soler: La Capricciosa Corretta Review
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Daniel Barski, who was born in 1948, resides in Arcade, New York. JANPress is very happy to have Daniel join a growing list of creative performers, arrangers, and composers and he expands our unique offerings with his own "Free-Reed ODYSSEY" CD as well as very accessible arrangements for accordion. Although he has produced a few privately distributed recordings in recent past, his "Free-Reed ODYSSEY" is his first public release. Daniel has quite an interesting background, so JANPress is going to let you read about it in his own words. "I began studying accordion at the age of nine. My teacher employed the Sedlon method, and focused primarily on standards and Polish folk music, mainly from the albums of Podgorski. I discontinued lessons at the age of 16; after joining the Navy at 17, my accordion was sold. I made no attempt to play again until 1995, at the age of 47. At that time, I bought an old accordion with the thought of entertaining my mother, whose sacrifices paid for the lessons of my youth. Much to my surprise, I played at nearly the same level as when I quit, which was not very good, but encouraging nevertheless, in view of my lengthy estrangement from the instrument. It wasn't long before I rediscovered the magic of the accordion, and have since embraced it with a passion; however, due to the unavailability of formal instruction, (I live in a rural area) I have pursued improvement through self study, largely in isolation. For anyone acquainted with the accordion, it is hard to escape the realization that it is particularly well suited as an orchestral instrument, (not merely as a solo instrument with orchestral properties), and that it has been under-recognized in that capacity. There is a wealth of music in the archives which seems to have been passed over by accordionists because of its unsuitability for solo reduction, but which might, if transcribed for accordion ensemble or accordion orchestra, offer exciting opportunities to bring forth inspiring works with fresh perspectives, while exploiting more fully the orchestral capabilities of the instrument. And there are many fine accordionists, certainly more accomplished than me, who, for various reasons, have not undertaken to produce solo recordings, but who would, if opportunities existed, render exquisite performances as members of accordion ensembles or orchestras. Of course, such opportunities are nearly nonexistent these days. Yet, in my view at least, there is an alternative... the home studio. Consequently, I hope that, aside from whatever musical value my recording might contain, it might also serve as a stimulus to others, who might be predisposed, to consider setting up their own home studio and become their own ensemble. In applying the technique of multi-track recording, they may, as I have done, circumvent the difficulties of trying to find others with similar taste, skill, and commitment to the music, and, in so doing, free themselves to explore a largely untapped treasure trove of chamber works and orchestral compositions, particularly in the realm of early music, which still await their first artful interpretation with accordion. In anticipation of a possible (legitimate) objection to technologically dependent renditions, let me say that, admittedly, they are not possible without the help of advanced electronics; and the idea that one player has performed all the parts may seem surreal to some. However, if one thinks about it, the activity of listening to recorded music is itself an illusory process. Recordings require not only sophisticated machines in order to "reproduce" the music, but a certain psychological adaptation by the listener, which enables them to perceive the reproduction as a performance. Yet a recording can never be more than a pseudo performance, unequal to the most moving and memorable musical experiences that occur when the audience is able to establish "a connection" with the performance and, in a sense, become part
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