Image © Christoffer Askmann www.askmann.dk
5 Minutes with James Crabb
BAMF 2025
Concert #6 2pm Sunday, March 30
When did you start learning the accordion and have you learnt any other instruments?
I was 4 years old when I received my first accordion in Dundee, Scotland. I also learnt piano and later studied organ as a second instrument during my tertiary studies in Denmark.
The accordion is such a versatile instrument, featuring in everything from folk music to jazz and classical. What drew you to it, and how did your musical journey begin?
My father was a self-taught accordion player who only ever played at home for his own enjoyment. I was obviously drawn to the instrument with all the keys and moving parts and the music he played always made me happy. There were limited distractions when I was young - we didn’t have a TV so it was live music or the record player and radio for entertainment.
What are some of the challenges for technique to master the classical accordion?
Like all instruments co-ordination is a big part of playing this instrument but the real art is making it sing through the control of the bellows and air-pressure. This plays a major role in how the sounds are created and shaped together with how the buttons are pressed and released. Most people are right-handed but the heavier side of the instrument which also controls the bellows is operated with the left hand.
Can you tell us about your amazing classical accordion and where it was made?
The 2 concert instruments that I play were both custom hand made in Castelfidardo, Italy by one of the leading makers and developers for many decades, Pigini. I’ve been performing on their superior instruments since 1983 and always visit the factory for mechanical repairs. The instruments are more or less identical in detail apart from the steel reeds inside which give them their own particular sound personality.
When listening to the classical accordion as a featured instrument, what do you suggest the audience listen for to maximize their enjoyment and appreciation?
I’m really a storyteller evoking memories and emotions through sound. The accordion is a one-man band, a portable orchestra and the classical accordion being the biggest member of this family of instruments can produce an incredible variety of sounds.
Many people associate the accordion with folk traditions, but it has a rich repertoire beyond that. Are there any unexpected styles or composers that have influenced your playing?
I grew up with Scottish Folk Music so that obviously played a significant part in my early years and in particular the sheer joy of making music. The accordion was invented as a primitive way of producing simple harmonies and which was easily transportable for the travelling musician. The development of sound quality and the possibility to play melodies in both hands has meant that today the majority of contemporary composers have now written music for the instrument intrigued by its sound world.
The classical accordion has such a distinctive, emotive sound. Is there a particular piece or style you love to play because of the way it showcases the instrument’s character?
I’ve always enjoyed pushing the boundaries of the technical and expressiveness of the instrument and myself. I only play music that I genuinely love to play and feel that I can express myself through the music with the help of the instrument.
You’ve performed in many musical settings, from orchestras to collaborations with other artists. What has been the most rewarding or unexpected experience in your career so far?
One of the most rewarding aspects of being a musician is collaborating with fellow colleagues new and old. The chemistry between people is vital for creating magical and inspirational moments. Understanding people and social skills are just as important and are generally amplified in performance. Making music is a conversation with imagination and spontaneity which can only be unleashed with a mutual trust.
What do you enjoy most about performing solo recitals?
I really enjoy talking to the audience about the instrument, repertoire and basically entertaining them.
Have you performed in a particularly memorable concert?
Playing to an enthusiastic audience is always a memorable experience and having a wonderful acoustic in the venue is always a treat. I learnt from my teacher early in my education to treasure every moment making music as though it was my last! Every performance is a memory for any number of reasons and every one is an invaluable learning experience.
If you could commission a new piece for classical accordion from any composer, past or present, who would it be and why?
I’ve always enjoyed commissioning new works and working with composers. Each collaboration is an exhaustive adventure often over several years to reach the goal of creating a composition that will stand the test of time. There are too many composers to mention in my world of eclectic musical taste.
What inspired your selection of pieces for the upcoming BAMF Concert #6 ?
My repertoire planning usually depends on location, type of event and audience and general workload for that period. Playing a less familiar instrument means the I am always keen to present a whole range of styles and possibilities, and I enjoy having an opportunity to present past and present composers.
When you’re not rehearsing and performing do you have time for other hobbies?
I’m still an active and passionate field-hockey player as well as trying to keep up with the energy levels of my two teenage boys!
For further info about James Crabb go to: https://www.jamescrabb.com/index.htm
Interview conducted by Catherine Barnett (BAMF Committee) February 2025