title of this record - MUSETTE PARISIENNE - embodies the essence
of Parisian accordion music, with the tremolo tuning of the
instrument and the characteristic phrasing of the pieces.
To most people, the word "musette" automatically
suggests France, but this type of tuning has been used since
the early stages of the accordion in most European countries
for the different characteristic dances such as polkas, tarantellas,
mazurkas and waltzes.
Although the pieces on this record can be described as "light
music", a high standard of technique is required to produce
the full expression, dynamics and phrasing necessary to give
vitality and finesse. It sounds easy on the ear, but as with
all music, it is not easy to interpret properly in order to
create the atmosphere, which after all is the essential part
of this type of music. Really, it is not what you do, but
the way that you do it!
Usually, accordionists who play music of this genre have a
backing group to provide the accompaniment and rhythm and,
therefore, they do not normally play the left-hand basses
of the accordion.
On this record, however, no backing group is used at all and
the rhythmic accompaniment is provided purely by the left
hand of the player - hence the description " ONE musician
and ONE instrument". This rhythmic accompaniment comes
from the electronic accordion basses. For most of the pieces
the predominant treble sound is the musette register of the
acoustic accordion, but here and there electronic accordion
sounds are used at the same time to add colour.
Without doubt, Pearl Fawcett has achieved international recognition
as an accordion virtuoso. Her success in concerts, both in
England and abroad, and her frequent broadcasts demonstrate
her musicianship and artistry. Her vast repertoire ranges
from the classics to light music and no matter what kind of
music she plays, her marvellous technique and control the
instrument ensures the the music is interpreted to the full.