Samuele Telari

The accordion, the quintessential “proletarian”, “vagabond” instrument, as Gabriel García Márquez called it, has only recently earned its place among the “higher class” of instruments — including its place of honor in Luciano Berio’s Sequenza XIII in 1995 — following a sequence of important appearances and original pieces (e.g. Berg, Hindemith, Creston, among others) and of effective transcriptions, such as the ones taken from two famous original works for piano: Mussorgsky’s Pictures at an Exhibition and Ligeti’s Musica ricercata.