Godfather of Confederation Mondiale de l'Accordeon
Scores - Richard Galliano
More slow for Debussy, Noble and Sentimental for Ravel, Sad for Sibelius, Brilliant for Chopin, the Waltz has crossed time and abandoned the glaze of living rooms and quiet atmospheres to be embedded in the popular balls, establishing the accordion as the master of ceremony of music that has become Musette, sensual, airy, mischievous, synonymous with celebration, joy of life or the melancholy when memory fades.
A few scores forgotten at the bottom of a cupboard in his father's house, all that was needed to stir the imagination of Richard Galliano and revive memories of a childhood rocked by the waltz musettes.
An uninhibited accordionist who has rubbed shoulders with all styles and influences, and who happily moves from a fugue by J.S. Bach to a tango by Astor Piazzolla, from a chorus by Chet Baker to a ballad by Michel Legrand, Richard Galliano has developed this new opus like a tasteful menu, suitable for delighting musical gourmets, be they open to new things or nostalgic of an era, whose charm of yesteryear they find here.
Invoking the heavenly spirits of his elders and of all those, composers or singers who have enriched his inspiration as an accompanist, interpreter, arranger or composer, Richard Galliano summons his instrument, to magnify, in this line of musical purity that he particularly likes, the very essence of a melody
The evocation of the Lady in Black is followed by the warm romance of the "Forains", dear to Henri Sauguet, straight out of an old limonaire that sits there, near the Grand Carrousel. He hums his ritornello under the lanterns of an eternal feast where André Astier, his lifelong friend, recalls in turn, his "Souvenir d'Accordéon", reminiscent of beautiful Sundays, when one would take the time to stroll to the sound of a magic radio that would brighten up the gloomiest of skies.
And no matter how gloomy the weather was, there was a place on the outskirts of the big city "Il piccolo circo", where children could be amazed and enjoy with their families some small pleasures, before taking life by the hand and suppressing the passage of time, to the sound of Shostakovich's Waltz, with its swirls and whirls, to the point of sweet vertigo.
It's time to rest under the tall trees of an imaginary park, a stone's throw from the bandstand where the accordionist converses with Chopin whose moving Waltz, hardly made for dance, is inclined to daydream.
Couples leisurely follow the steps of the walks when, at the bend in an alleyway, merriment and carefreeness emerge in the guise of "Marion", composed in great secrecy by Richard's father, Lucien Galliano, no doubt inspired by his granddaughter, and which celebrates, through this musical jewel, the eternal youth of the beloved.
Then comes the Paris of Érik Satie, whose gentle soul haunts the streets of Montmartre to the slow rhythm of an elusive Gymnopédie, which in turn gives way to Émile Waldteufel's "Amour et Printemps", like a romantic farewell to the City of Light before it switches to the new century, that of jazz and java, swing and bal musette, that of Doisneau's photos and Claude Jean-Philippe's film club.
But, before indulging in the pleasure of dancing, the musician confides his sadness to the stars through a moving message "To Mario", the Italian friend who passed away a few months ago.
Then the waltz, eager for new experiences, takes over and becomes, between the arms of Louis Ferrari, "La Rabouine", an ardent gypsy whose graceful gestures are outlined in the shadow of a Chinese shadow in the dark of a cellar in Saint Germain-des-Prés and merge with the scrolls of a cigarette smoke.
And because love stories are ageless, it is with emotion at his fingertips that Richard Galliano still confesses his affection to his granddaughter, "Lili", a jewel of innocence set with gentleness.
The youth have fled, but Claude Nougaro's voice still shouts "O que sera", in the Allée des Brouillards, and if by any chance it stirs "Les Vagues de l'Âme" with a wind of nostalgia and disturbs the eyes with a fleeting sorrow, the heart continues to dance, until the last chord, until the last homage, until the "Valse de l'Adieu".
The Waltz lives, twirls and flies away…………….
Ma plus belle histoire d'amour