John Serry, Sr. - Musical Style

Musical Style

See also: Accordion music genres#Use in classical music

While performing, Serry maintained high musical standards and a disregard for those performance techniques which might hamper the advancement of the accordion from the realm of popular entertainment onto the concert hall stage in America. It was his conviction that the accordion could transcend its limited role in America's past as a folk instrument through concert performances with recognized orchestral ensembles. In the process he hoped to demonstrate the versatility and potentiality of his instrument to orchestral conductors, his fellow musicians and the general public. This was a formidable challenge due to a variety of factors which prevailed in the USA at this time: the scarcity of compositions featuring the accordion within a classical music ensemble, the reluctance of American conductors and musicians to feature the instrument within an orchestral setting and the predominate use of the instrument in the performance of ethnic music for the American public.

With this in mind, Serry adopted a performance philosophy which emphasized a careful balance between the orchestral sound of the concert accordion and the more familiar robust techniques associated with a solo performance. As one of a few orchestral members who received a copy of the complete orchestral score, Serry was often required by his conductors to "double up" or accompany various sections of the orchestra including: the violins, violas, cellos, oboe, clarinet and flute. This required both the careful use of the mellow tones generated by the reeds found in the Cassotto (or tone chamber) as well as the judicious use of the accordion's registers to complement the various timbres found throughout the orchestra. In addition, Serry avoided the use of prolonged bellows shakes or extended glissandi in an effort to successfully integrate his instrument while also providing harmonic and tonal support to the entire orchestra. As a result, his performances on the Stradella bass system accordion and the Bassetti free-bass accordion gained widespread recognition and respect for his instrument among his fellow musicians in New York City from 1940 to 1970. (See performance listings above).

Serry's musicianship was also reflected in his musical publications and compositions, which represent several American musical genres including jazz and classical music. His musical publications include a complete series of accordion method instruction books for students as well as several transcriptions of classical and popular music for accordion quartet. (See Published compositions below). His advanced compositions reflect an interest in the works of George Gershwin, Maurice Ravel and the percussive rhythms often associated with South American compositions. (See Advanced compositions below). On the organ, his performances were conducted in the style of the American theater organ popularized during the 1930s and 1940s.