Max Simoncic’s new accordion concerto will be performed by Peter Soave in March 13, 2016 2:PM with the Michigan Philharmonic Youth Orchestra at the First United Methodist Church in Plymouth, Michigan. (See article in Highlights). The concerto was enthusiastically received at the World Premiere performed by world renowned accordionist, Peter Soave, with the Stockton Symphony Orchestra at the Atherton Auditorium, San Joaquin Delta College. This historic event took place on Thursday, November 10, 2011 and Saturday, November 12, 2011.

Written in three movements with Peter Soave specifically in mind, the “Accordion Concerto” is an original work from Slovenian-born and Stockton-based composer Max Simoncic. It is scored for timpani, suspended cymbal, crash cymbals, snare drum, tambourine, bass drum,triangle, castanets, and strings. The concert marked the fourth time that a Simoncic piece has premiered in a Stockton Symphony milestone season. Simoncic also wrote original works for the symphony’s 70th, 75th and 80th anniversaries. 2011 was the symphony’s 85th year.

Recognized worldwide as the foremost master of the bandoneón and concert accordion, Peter Soave has established himself as a leading soloist and Soave’s playing, says composer and conductor Duilio Dobrin, is the “stunning, majestic, monumental testimony of a man who lives, breathes, and feels every note. The musicianship is beyond words!”

Composer of international repute and devoted pedagogue, Max Simončič has received commissions from the Stockton Symphony, San Francisco Symphony Bay Brass, San Francisco Saxophone Quartet, St. John’s Chamber Orchestra, Adelphi Chamber Orchestra of New Jersey, Flexible Symphony of New York City, and numerous other ensembles.

In 2005 he won ERM Media’s national competition, Masterworks of the New Era, for his orchestral composition, “Petit cirque”, a shorter, reworked version of “Cirque de symphony”, which the Stockton Symphony premiered in 2002. In its award winning guise, “Petit cirque” was premiered and recorded by the Kiev Philharmonic conducted by Robert Ian Winstin. “Petit cirque” has also been performed at the Louvre in Paris by the Paris Chamber Orchestra together with the Millennium Symphony (U.S.), in Lyon and Toronto, and by the Cleveland Chamber Symphony, Virginia Youth Symphony Orchestra, and Norwalk Youth Symphony.

Simončič’s music has been performed throughout the United States and Europe. Some of the more recent performances include: “Four Tangos” for seven accordions, violin, cello, and bass by the Flexible Orchestra, “Guitar Concerto” by the Adelphi Chamber Orchestra, “Concerto for Marimba and Symphonic Band” premiered at Carnegie Hall, “A Short Symphony” and “Violin Concerto” premiered by the St. John’s Chamber Orchestra, “Fanfare” for wind ensemble played at Carnegie Hall, and “Fanfare and March” for the Lodi Community Band.

Since the age of eight, when Simončič wrote his first pieces, he continues to find composing both mysterious and exciting! In 2006 Simončič retired from decades of teaching music at San Joaquin Delta College. He has also taught theory and composition at the University of the Pacific, and is an adjunct professor for the Stockton branch of San Diego–based National University.

Peter Soave felt that being part of the premiere of a work is very special, and also a big responsibility. “It’s very stimulating because there’s so much involved,” Soave said. “For a composer to dedicate those countless hours … it requires such finesse and development. Max is definitely an accomplished composer … and we’ve been in contact for a year. It’s humbling for me that I have the opportunity to present this. It’s difficult, of course, because until the first rehearsal we didn’t know how it would come out. You still have opening-night concerns. But Peter Jaffe and the whole staff were committed to making this … very special. I’m very fortunate to be part of that.”

The Stockton Symphony Orchestra was also fortunate to have Peter Soave perform with them. Peter is an internationally known musician who has given performances all over the world. He has recognition as a master of the bandoneon, a type of accordion, and the concert accordion. In 1987, Soave was the inaugural recipient of an international award, “Voce d’Oro,” honoring those who have helped raise the prominence of the accordion. “I think the accordion was a not-so-well-understood instrument in recent decades, because it’s a young instrument, so it doesn’t have much (history) to it. And I’m glad that I’m able to do my part in bringing it to a different light.”

“The concerto contains three separate movements and features cadenzas and quasi-cadenzas for the accordion in the first and third movements,” Simoncic said in written program notes about the concert. Soave said “It’s a marvelous work, very challenging, but it’s full of wonderful techniques. New music, a little bit of nostalgic motifs.”

From the program notes by Jane Vial Jaffe: “Commissioned by Thomas and Virginia Chen, the “Accordion Concerto” was composed with the talents of Peter Soave in mind.

The composer writes: “The Concerto contains three separate movements and features cadenzas and quasi-cadenzas for the accordion in the first and third movements. “In the first movement (Act I: Villains, Clowns, and Heroes) there are three main themes, which I consider to be similar to characters in a play or novel, and one complete subordinate theme. A sinister or perhaps mysterious sound opens the piece before the first main theme (characters) enters (enter).

The first theme appears as a darkish melody in the minor mode. Not long after the first theme, a second theme, humorous and playful, enters in the major mode. The third main theme uses traditional leaps and scale-like runs, finally ending at the door of the subordinate theme.

The subordinate theme, introduced about halfway through the movement, is in a slower tempo with the melody playing itself out like a song of love. A furious development follows with all themes finding places to shine as the story develops. A brief cadenza for the accordion takes place just before the movement comes to its conclusion.

The second movement (Act II: Reminiscence), in a large three-part form, explores an introspective mood between the accordion and solo violin, enveloped by a feeling of calm in the string section.

Movement three (Act III: Prologue and Dance) begins with a prologue, then the fun begins with the first dance in a seven-beat rhythmic pattern with a Latin feel. This theme departs into the first episode, a Waltz Tango. The next episode could be described as music one might find in a French café. As the music weaves back to the first theme in 7/8 time, it finishes with a short reprise of the Waltz Tango in a quick dash to the end.”

Simoncic, who retired in 2006 from teaching music at San Joaquin Delta College, is well known in international music circles. “In some ways he is more famous outside Stockton than he is here,” said Jaffe, in his 16th year as conductor.

The Jaffe-Simoncic collaboration has become more comfortable through the years. “It’s been a personal dream of mine in Stockton,” Jaffe said, “to help develop a public resurgence of trust in launching new music.”

For further information: msimoncic@comcast.net and
info@petersoave.com

Photo of composer Max Simoncic