The accordion is a symbol of cultural exchange like no other instrument. Classical music and jazz kept their distance, however, until South American bandoneon masters like Astor Piazzolla conferred new significance on the accordion sound. In the “Accordion Night” of the series “Jazz at Berlin Philharmonic”, the Norwegian Stian Carstensen and the Frenchman Vincent Peirani, together with others, will prove how well the accordion sound suits jazz.
Introduction: 7:00 pm
The accordion is a symbol of cultural exchange like no other instrument. When invented in the 1820’s the Chinese sheng, a reed instrument, acted as the model because the principle of an oscillating “free reed” set in motion by means of compressed air and suction was practically unknown in Europe. As if making up for lost opportunities in fast motion, resourceful instrument makers then developed innumerable accordion variants like the button harmonica, the flutina, the concertina and the bandoneon within a short space of time. These found their way into folklore in Europe as well as in South America. Classical music and jazz kept a distance, however, until South American bandoneon masters like Astor Piazzolla conferred new significance on the accordion sound.
In the Accordion Night of the series Jazz at Berlin Philharmonic, Norwegian multi-instrumentalist Stian Carstensen, who is among Europe’s leading accordionists, proves how well the accordion sound, in which so many traditions and associations resonate, suits jazz. At his side is the French accordionist, singer and composer Vincent Peirani, who due to his intelligent, refined and highly virtuoso playing has already performed with jazz greats like Michel Portal, Daniel Humair, Renaud Garcia Fons, Louis Sclavis and Vincent Courtois. Since 2011, Peirani has been playing regularly in Korean singer Youn Sun Nah’s quartet – and she’s the most successful jazz artist in France of recent years …