Here are some videos I have restored or edited showing Larry Adler at the peak of his ability in 1971 and also from his final year in 2000/2001.
1971 – “Playing the Thing“
In 1971 Chris Morphet created his harmonica film “Playing the Thing” and this included visiting Larry Adler at his flat in Brighton (UK) where he was interviewed and recorded playing several pieces of music. Some of the footage was included in “Playing the Thing” but most of it was lost on the editing floor. I recovered most of the out-takes and reconstructed the original full interview and performances. Here are the resulting videos. The quality is not perfect as some of the 16 mm film was damaged or missing and was from different sources.
The full story of my continuing reconstruction of “Playing the Thing” with the interviews with Larry Adler, Sonny Terry, Cham’ber Huang, James Cotton, Bill Dicey, Andy Paskas, The Herold Trio, Hohner ….. can be found on the “Playing the Thing” website.
The website also has a video of the original film, “Playing the Thing“, which was released in 1972.
2000-2001 – Larry Adler’s final years
Here are some other videos from Larry’s last year before his death in 2001.
One is from his appearance at the Millennium Festival in Bournemouth (UK) in 2000 organised by John Walton and the IHO.
The others are from his last days when he secretly left his hospital bed to play in the Albert Hall, and the tribute concert held a few months after his death.
Despite his poor heath, Larry did what he always did. He played until he finally had to leave the stage.
I first got to know Larry when I joined the National Harmonica League (NHL, HarmonicaUK) committee in 1999. Larry was our President and needed help with his office. Gout had frozen his fingers making it very difficult for him to answer emails and write his articles and reviews. I visited Larry regularly and made his computer more accessible. I had set up the NHL website which had a page listing his many gigs around the country and in his favourite location – “The Pizza in the Park” in London.
Larry returned from a successful concert with Cham’ber Huang in Hong Kong in December 1999 and after a series of UK gigs he made a short tour in Australia in May 2000. On his return he wrote, “I’m playing at the Edinburgh Festival Aug 5 and 6, later in September at the Palace Theatre, London as part of the Soho Jazz Festival. Found a sensational piano accompanist whom I’m importing for these events.” This was the 18 year old Simon Tedeschi from Australia. He looked after Larry’s musical needs until his death, a year later.
Simon Tedeschi
Larry was set to tour Australia in 2000, and for whatever reason his pianist was indisposed. When he found out that a teenager was due to accompany him instead, he wasn’t happy in the slightest, and as anyone knows, Larry came from an era in which feelings were not held back. But when we met, the music flowed instantaneously. He called me son, and I called him pop. We exchanged Jewish jokes and talked about the world. He was a complex man, with many sides, some of them difficult, others charming and affable.
We went on, after that tour, to travel the world together. As his health failed, I had to do more and more to ‘fill in the gaps’ musically, but I never stopped learning from Larry, simply from being around him. I never quite worked out which of his stories were 100% true and which were confabulated, and I don’t think he quite knew either.
We performed at Pizza on the Park in Knightsbridge at least twenty times, and each time was a joy. We travelled on the Orient Express together, which I will never forget. We argued and laughed, jostled and teased. He was the first ‘legend’ I ever worked with.
Until only a week or so ago, I had no idea any footage of us playing together existed. I was his last pianist and according to him, the finest Gershwin exponent he’d ever heard. I still like to use that quote wherever I can!
Videos of Larry’s last performances
Larry Adler and Simon Tedeschi performed together on many occasions including at the IHO Millennium Festival Concert in Bournemouth, UK, 7-10 September, 2000. Larry was very ill but he did not want to disappoint his harmonica friends – he was President of the NHL. He arrived in a wheel chair and was assisted to and from the stage.
After Larry’s death in August 2001, there was a Tribute Concert in The Arts Theatre in London, 30 October 2001. It was attended by lots of Larry’s friends and colleagues from the entertainment industry, including his brother Jerry, and Sir George Martin. Music was provided by Simon Tedeschi, Hot Club de Londres, Izzy Van Randwyck, and Harry Pitch.
This was Larry’s last gig. He was in hospital in June 2001 and there was a big musical birthday party for his old friend, Prince Philip. His doctors would not let him take part so he slipped quietly out of his room, went to the concert in the Albert Hall and returned to the hospital.
Unfortunately for Larry the concert was televised by the BBC…
HarmonicaUK started life as a Hohner marketing activity in 1935 and remained so until it was handed over to the members in 1981. It was first called the Hohner Song Band League, then the National Harmonica League and finally HarmonicaUK.
The Golden Age of the Harmonica
The end of WW2 produced major changes in society. Soldiers returning home wanted change and they returned to a different Britain. One part of the change was the rebuilding of the Entertainment Industry as musicians and artists looking for work as the rebuilding of the country got underway. We will see the secondary effect of the opening up of education when we get to the 1960s.
The 1950s saw the high point for the harmonica. The soloists (Ronald Chesney, Larry Adler, Tommy Reilly and Max Geldray) gained National and International status and the harmonica groups (The Three Monarchs and The Morton Fraser Harmonica Gang) enjoyed lots of success in Music Hall, initially on BBC Radio and then TV brought them into homes all over the country.
Ronald Chesney had demonstrated the potential of the chromatic harmonica when he gave a solo performance in the Royal Albert Hall in 1946. Larry Adler had toured the world, stared in films and composers began to write music for the harmonica. In 1952 Larry performed the ‘Romance in D flat for Harmonica’, composed for him by Ralph Vaughan Williams, in the BBC Proms. Tommy Reilly moved from the Music Hall to the concert stage with compositions by Spivakovsky, Gordon Jacobs and his long term accompanist, James Moody. Max Geldray continued in the jazz clubs and Variety.
The format of the early radio shows opened up many opportunities for entertainers. Shows like ‘Variety Bandbox’ and ‘Workers Playtime’ on the BBC Light Programme provided spots for soloists and the groups but the popular long running comedy programmes like “The Goon Show” and “Educating Archie” featured musical breaks in the story which were filled by Max Geldray and Ronald Chesney respectively. Ronald went on to write the scripts for Educating Archie.
Harmonicas also turned up on themes for radio programs and films.
Tommy Reilly can be heard on Dixon of Dock Green and The Navy Lark.
Larry Adler had a big success with his music for the film “Genevieve”.
Ronald Chesney appeared on Educating Archie.
In addition to the home grown talent, the Harmonicats’ recording of “Peg O’ My Heart” was proving very popular and Borrah Minevitch had moved ‘The Harmonica Rascals’ to France. Interest in the harmonica was at its peak.
The National Harmonica League restarts
Hohner had started rebuilding their organisation after the war and in 1949 they established the National Accordion Organisation (NAO) and relaunched their magazine, “Accordion Times”.
In 1951, Hohner restarted the Hohner National Song Band League (HNSBL) and began the publication of Harmonica News.
This was in part a reaction to the increase in popularity of the harmonica in the UK, but also a result of Hohner setting up the Federation Internationale de l’Harmonica (FIH) with Dr Otto Meyer (GB) as President. This was an umbrella organisation covering most European countries and S Africa which went on to organise the World Harmonica Championships starting in Duisbourg in 1953 and then moving around European cities in subsequent years.
The new organisation had Ronald Chesney as its President and Larry Adler, The Three Monarchs and Tommy Reilly were active in events and writing for the magazine. At the start of 1953 Hohner changed the name of the organisation to the National Harmonica League (NHL). This was less of a mouthful and reflected the increased emphasis on individual players, not bands.
Competition for the NHL Championship was fierce, with regional heats and then a final which was held in the Central Hall, Westminster in London. The three winners then took part in the FIH World Championships. As the event developed, competition classes were held for chromatic soloists, groups and diatonic harmonicas (not blues harp!).
Several of the winners of these early competitions have been active in the NHL in recent years. Douglas Tate, Jim Hughes, Gerry Ezard and Dave Beckford are probably the best known, but even more went on to join the Morton Fraser Harmonica Rascals. Local harmonica bands and groups continued into the 1950s, but the increasing popularity of the guitar based rock and skiffle groups led to a steady decline in their numbers.
The peak of the NHL’s success was in the mid 1950s but by 1958 the interest was waning and Hohner could no longer afford to support the magazine. In 1959, Harmonica News ceased publication and harmonica items were moved into the Accordion Times. The Council of the National Harmonica League agreed to transfer its activities into the larger and more active National Accordion Organisation (NAO). The activities of the NHL continued under the wing of the NAO.
Away from these organisations something was stirring.
Deep in Soho in The Round House pub on Wardour Street, Cyril Davies (harmonica) and Alexis Korner (guitar) were running a club which was progressing from playing early country blues, Woody Guthrie and Leadbelly music, to barrel house and blues.
Touring American blues musicians visited the club and Sonny Terry and Brownie McGee were the club Presidents. Following Muddy Waters visit to the club in 1958, the move to electric Chicago blues music was underway, but that has to wait for the next part of the story…
HarmonicaUK started life as a Hohner marketing activity in 1935 and remained so until it was handed over to the members in 1981. It was first called the Hohner Song Band League, then the National Harmonica League and finally HarmonicaUK.
We left 1939 with a young pair of chromatic harmonica players, Ronald Chesney and Tommy Reilly, just starting their careers and Larry Adler enjoying world wide fame as a World War was breaking out.
The Hohner Song Band League stopped officially at the start of the Second World War and did not really get going again as a club until 1951. Despite this, these years turned out to be an important time for the harmonica.
The social changes brought about by the mixing of service men and women from all sections of society and all over the country and in foreign places led to a need for entertainment, and portable instruments like the harmonica were in great demand. Ronald Chesney led a campaign to collect harmonicas to send to the soldiers.
After the war things came together for the harmonica. This is illustrated in the programme notes for a concert of classical music performed by Ronald Chesney in the prestigious Royal Albert Hall in 1947, just after the end of WW2. It was the first solo concert held there by any harmonica player.
Ronald Chesney’s Programme Notes from the Royal Albert Hall
“Finding that his musical ability did not advance beyond the “party-piece” stage, Ronald Chesney’s lessons on the piano terminated at the age of twelve. Freed from the grind of five-finger exercises his natural love of music came to the surface, however, and nine years ago, at the age of seventeen, his studies were resumed. Discovering by chance the possibilities of the mouth-organ, he chose this surprising instrument for serious study and within two years had made his broadcasting debut with instantaneous success.
After appearances in many of the B.B.C.’s major programmes, his own feature, “Teaching the Allied Forces how to play the Harmonica,” commenced and brought him a fan mail running into many thousands of letters. Averaging nearly a hundred a day, Chesney took pride that the majority of these letters came from servicemen, stationed in all parts of the world – from the desert and from the lonely arctic circle, where the pocket- sized mouth organ was a substitute for full-sized symphony orchestra or swing band, depending on the musical tastes of the player’s comrades. To these men his programmes of instruction and music were a link with home.
His virtuosity on such a small instrument attracted the attention of concert impresario Harold Fielding, who has during recent years presented him in concerts throughout Great Britain, including a musical festival at Sadler’s Wells. Still a bachelor at twenty six and a young man of simple tastes, Ronald Chesney spends most of his time in a workshop at home, improving the mechanical aspect of the harmonica to keep pace with his musical progress. He believes the instrument capable of great improvement and considers he has only just begun to discover its vast musical possibilities.”
The harmonica was being taken seriously at last!
The chromatic harmonica moves into the spotlight
Larry Adler had been playing in America entertaining US troops at home and then in Europe.
Ronald and Larry both went to the Hohner factory in Trossingen as soon as the war ended to get more instruments.
Lots of things were on the move.
Ronald Chesney was touring the country with top musical artists, and Larry Adler was performing in the USA and around the world. He did his own concert at the Royal Albert Hall just after Ronald Chesney.
Tommy Reilly had been interned in a prisoner of war camp at the start of the war, when he was studying violin in Germany.
He spent time developing his technique on the chromatic harmonica. He returned when the war was over and started playing harmonica in Music Hall and on the BBC.
Tommy Reilly had been interned in a prisoner of war camp at the start of the war, when he was studying violin in Germany. He spent time developing his technique on the chromatic harmonica. He returned when the war was over and started playing harmonica in Music Hall and on the BBC.
Max Geldray had escaped to the UK from Holland at the start of the war and joined the Dutch Brigade of the British Army. He began playing in London jazz clubs in his spare time and even played in a concert for the Queen at Windsor in 1942. After the war he continued to find some work in clubs but his big break was just round the corner.
After the war Morton Fraser advertised for harmonica players and started the Morton Fraser Harmonica Gang with demobbed soldiers.
Eric York, Jimmy Prescott and Henry Leslie (aka Cedric/Les Henry) got together after leaving the Army and formed the Monarchs (later The Three Monarchs), initially as a straight act. The comedy came later.
Larry Adler blacklisted in the USA
The clouds were gathering for Larry Adler. He was blacklisted by the US House Un-American Activities Committee (HUAC) in 1947 along with many others in show business. This prevented him from working in America, which led to him moving with his family to live in the UK where he was much more appreciated.
The Golden Age of the Harmonica was about to start…
HarmonicaUK started life as a Hohner marketing activity in 1935 and remained so until it was handed over to the members in 1981. It was first called the Hohner National Song Band League(SBL), then the National Harmonica League (NHL) in 1982 and finally HarmonicaUK in 2021. (Work in progress)
This multi-part history was published in Harmonica World, the magazine which is distributed to members of HarmonicaUK, between 2020 and 2021. It is in 8 parts.
I love to hear the harmonica adding some atmosphere to a film or TV show. Unfortunately the musician who plays the music is rarely credited.
The Alabama 3
I was watching an episode of a series on Channel 5 (British TV) called Finders Keepers and there in the background was that harmonica sound. I checked the website and wrote to the producer and he told me the music was by the Alabama 3, a group from Brixton, in London. Feeling pleased with myself, I watched the program again and saw that their name was on the opening credits…
I visited the Alabama 3 website and found out more about their harmonica player, Nick Reynolds.
Nick Reynolds
Nick was born in London in 1962 and his first band was in the Royal Navy in1979. In 1983, whilst serving in Navy Intelligence in Whitehall, he played with the reformed 60’s group The Pretty Things until 1985 when he went to Australia. On his return to London in 1989 he played in a series of groups – Les Grandes Branleurs, Backstreet Band, the Brit-pop band Octopus, and the experimental electro jazz band Blowpipe before becoming part of the Alabama 3 in 2001. There are more than 3 members and they don’t come from Alabama.
Woke up this morning
Alabama 3 were a new band to me and we don’t have any TV subscription channels. This may explain why when I started looking at their recordings I was unaware of the world wide fame they had achieved when their recording of Woke up this morning was used for the opening credits of The Sopranos. The bluesy rap song with influences from Howlin’ Wolf, Mississippi Fred McDowell and Muddy Waters.
From The Sopranos to The Simpsons
I went off in search of news of The Sopranos and found some great videos and parodies of the opening credits to the TV show.
The Sopranos opening credits
The Simpsons Parody
Alabama 3 in concert
Here are two performances of Woke up this morning by Alabama 3. The first one live in concert and a second small group acoustic one with more of Nick on harmonica.
Woke up this morning – Belladrum 2023
Work up this morning – Cigar Box Sessions 2015
More on Nick Reynolds, harmonica player, writer, sculptor, artist, composer and producer here.
Douglas Tate, Jim Hughes, Philip Achille, Frank Semus, and Ola Braein perform music for the chromatic harmonica at a concert organised by Ena Reilly in Frensham Church in 2004, accompanied by Chris Collis (piano) and the Quartet Pro Musica.
Music includes three works for Harmonica and String Quartet – ‘Divertimento’, ‘A Yorkshire Tale’ and ‘Somerset Garland’ – plus solo pieces by Fauré , James Moody, David and Tommy Reilly, Tchaikovski, and Norwegian traditional music.
The original concert included performances by singers Hannah Poulsom and Jim Heath, but this video only includes the harmonica performances. The start times for the individual artists and pieces of music are given below.
An evening sponsored by The Tommy Reilly Appreciation Society in Frensham Church in 2004
Concert Programme
Douglas Tate and Chris Collis (piano) 0:01:00 – Berceuse (Fauré ) 0:04:30 – Three Irish Dances (arr James Moody)
Philip Achille and Chris Collis (piano) 0:07:20 – Little Suite, 3rd and 4th movements (James Moody)
James Hughes and Philip Achille with String Quartet 0:14:40 -1771 (James Moody)
James Hughes and String Quartet 0:18:00 – Divertimento for harmonica and string quartet (Gordon Jacob) – 4 movements 0:29:00 – A Yorkshire Tale – Ronnie Hazelhurst
Frank Semus and Chris Collis (piano) 0:37:40 – Canzonetta from 2nd Movement of Tchaikovsky’s Violin Concerto 0:43:59 – Age of Innocence – David Reilly
Ola Braein and Chris Collis (piano) 0:47:33 – Wedding march 0:49:21 – Visetone (Norwegian traditional) 0:52:00 – Lord, look upon our joy (Norwegian traditional) 0:53:28 – Vårsøg (wind of spring) – Henning Sommerro 0:56:40 – Spanish folk song (traditional)
James Hughes with String Quartet 0:59:00 – Somerset Garland (Paul Lewis) 1:13:05 – Bavarian Woodpecker (Tommy Reilly)
This video contains all the chromatic harmonica music played during the Memorial Service held on April 21st, 2006, in Olney Parish Church. Douglas Tate was a charismatic UK harmonica player, engineer and teacher. He had played in World Championships, broadcast on the BBC, and written books on the maintenance and playing of the chromatic harmonica. He became President of SPAH in 2000 but his term was sadly ended by cancer.
Douglas had been involved with the National Harmonica League (now HarmonicaUK) for most of his adult life and the musicians who took part in the Memorial Service were friends from the organisation. Gerry Ezard, Colin Mort, and Harry Pitch were long time friends and Philip Achille, Eddie Ong and Jamie Dolan were youngsters that Douglas had encouraged.
01:20 mins – Douglas Tate – Sonata for Harmonica (Peter Jenkyns)
06:00 mins – Jamie Dolan – Mulberry Cottage
09:00 mins – Harry Pitch – Last of the Summer Wine
13:00 mins – Philip Achille – Ashokan Farewell
17:50 mins – Jang Ming – No Place Like Home
19:00 mins – Ensemble – Bach Double Violin Concerto
27:40 mins – Jamie – Dark Island
30:00 mins – Douglas Tate – Trio Sonata in F major (Jean-Baptiste Loeillet)
You can learn much more about Douglas Tate and his life from my articles in the Harmonica World magazine issue shown in the video above. It can be viewed here.
Martin Häffner has dedicated his life to educating people about the history of the harmonica, especially the Hohner harmonica company. He has set up a museum, taken the story around the world as a mobile exhibition, written books and led guided tours around Trossingen, Germany, the home of the original Hohner harmonica factory.
This detailed history was co-written with highly regarded harmonica artist and author Steve Baker. He has been a consultant to the Hohner company since 1987 and has been able to gain a unique perspective on the company story. Thanks also to Diana Rosenfelder from the German Harmonica Museum for help in writing this blog page.
Martin was born October 7, 1958, in Schönau near Heidelberg. He graduated from high school in Heidelberg in 1977, and studied history and theology in Tübingen and Vienna until 1986 when he started work as an assistant at the State Museum of Technology and Work in Mannheim.
In 1987 the Hohner Harmonica Collection was sold to the state of Baden-Württemberg as part of a company rescue deal and Martin was commissioned to write a report on it. To complete his work on Hohner, its history and the Hohner collection and to get all the necessary information, Martin was employed by the Hohner company on 1 January 1988. Three years later he became an employee of “Trägerverein Deutsches Harmonikamuseum” (Sponsoring Association of the German Harmonica Museum).
Steve Baker joined Hohner as a consultant in 1987 and when they met there for the first time, Martin led him up into the cavernous attics in Bau V, the accordion works which today houses both the new Harmonica Museum and the Hohner Conservatory and has now been beautifully renovated.
He showed Steve what appeared to be literally tons of unidentifiable stuff, packed in dusty cartons and piled up all over the place without any apparent semblance of order. It looked as though the custodians of Hohner’s company history had simply dumped it all up there and forgotten about it.
Steve Baker
On closer inspection this jumble of relics revealed itself to be a huge collection of historic instruments, documents and advertising material relating to all kinds of aspects of the commercial production of free reed instruments, the largest of its kind in the world. As Steve wrote “Thank heavens the state of Baden Württemberg thought it was worth saving!”
In cooperation with the town of Trossingen, Hohner had agreed to co-finance a modest museum to house the Hohner Collection in the annex of the actual town museum on the high street. Martin began sorting through the vast piles of artefacts and arranged for the most interesting looking articles to be transferred to the new premises. Sifting through a century’s worth of unsorted leftovers was a huge task. Not all of it was of value and some was literally junk, but there were many real gems as well.
Martin had hoped the museum would be ready for the World Harmonica Championships in Trossingen in 1989 but they did not make it. Hohner’s CEO at that time, Dr. Johann Schmid, decided that he wanted to present every festival visitor with a free harmonica from the historic collection. Fortunately Martin was able to intervene and prevented him from giving away any of the really valuable historic instruments. He selected several hundred pieces which he reckoned the museum could do without and every visitor did indeed receive one.
The museum opened to the public in 1991 with over 25,000 harmonica exhibits in time for Hohner’s second World Harmonica Festival, and it has gone from strength to strength ever since. I was fortunate to visit the original museum in 2001. Lots of exhibits were displayed in small rooms with steep stairs. Martin set about producing programs of exhibitions and concerts to publicise the museum and raise money for its development. He took some of them around the world.
When the old Hohner (1911) factory buildings were restored and refurbished for small business use in 2016 the harmonica museum raised the money needed to move the exhibits a short distance to new premises in BAU V.
This provided a large open, bright, space on one floor of the building with more opportunities to display items and documents from the archive for the visitors to the museum.
Other features included office space, a shop, a small cinema and a flexible space for presentations and music performances.
Specially designed units were built to exhibit the most interesting instruments in a structured way, as well as thoroughly documenting the development of the industry.
Martin ensured that the earlier harmonica and accordion companies from the Trossingen area and Klingenthal were featured as well as other Hohner instruments like keyboards.
The permanent exhibition gives an overview of the whole sector including the Hohner family and the many other companies involved, both in Württemberg, Saxony, Vienna and elsewhere.
It is important to remember that Hohner once employed 5000 people, and swallowed up all its regional competitors to become an international household name, so the social component in terms of local history was very significant and is treated accordingly.
Martin was initially attracted to the harmonica by the beautiful packaging and innovative marketing introduced by the first Hohner generation, and a lot of space is devoted to this. Much of the advertising material is well preserved and the exhibition includes numerous examples. The strategies which Hohner developed later became more widespread, but in the 1880s it was not always usual to adapt one and the same product to meet the needs of different national markets worldwide. Hohner was a true pioneer in this area, and one of Martin’s most important goals was the documentation of both the means by which Hohner’s remarkable commercial success was achieved, and its impact on the social history of Trossingen and the region as a whole. It’s pretty amazing to think that within the space of a single generation, this isolated Black Forest village became the hub of a worldwide commercial empire, a development which alone is worthy of the interest of historians.
Another more controversial aspect of Martin Häffner’s work was his documentation of the history of the Hohner company during the Third Reich. As a historian, Martin felt unable to ignore the documentary and photographic evidence of its involvement in the war effort and extensive use of forced labour which was preserved in the Hohner Collection. The permanent exhibition shows a range of photos depicting the factory and its workers during the Nazi era, as well as historical instruments from both world wars. He didn’t presume to judge, but felt duty bound to document what had happened.
Mattiias Hohner
Martin’s hero is Matthias Hohner (1833-1902), and he takes visitors on tours around Trossingen to show where Matthias and his family lived and worked.
Occasionally the ghost of Matthias can still be seen talking to people in the museum about the company he created.
Martin “Matthias” Häffner
The existence of a museum like this is always dependent on its financing and the German Harmonica & Accordion Museum is no exception. Though both Hohner and the town of Trossingen continue to contribute to its upkeep, the purchase of the new premises and their renovation and maintenance would not have been possible without the generous support of the board of trustees and the numerous members of the support association. Many musicians have also been happy to donate their services in support of the museum. Today it offers both a comprehensive documentation of the history of free reed instruments, and an instructive and entertaining view of the people who both made and played them. If you can’t get to the museum you can learn a lot from the videos and books which Martin has researched and written or supported. You can find more about them in the Museum shop.
Martin Häffner has devoted the greater part of his working life to collecting and sharing the history of the harmonica and anyone who has more than a passing interest these instruments has every reason to visit and be grateful. We have been friends for about 20 years and I help at museum when I can.
Martin will retire in 2024 and he will find it hard not to stay close to the museum to help who ever takes over. I am sure, however, that he will probably have even more time for his other passion – enjoying long distance railway journeys.
The Museum charity receives no funding from the State of Baden-Württemberg and so one if the most important activities for Martin and his successor is and will continue to be is fund raising. Martin has established a fantastic resource for lovers of the harmonica and anyone who can should visit it and support it financially.
Summary – For over 30 years Walter Buchinger taught harmonica at the Musikschule in Laakirchen, Austria. He took groups of children to perform at festivals and concerts in Europe, Israel and the USA.
Walter was born in 1943 in Laakirchen. He learned to play harmonica and accordion and in 1963/64 he attended a seminar for music teachers in what is now the Hohner Konservatorium, in Trossingen, Germany. In 1973 Walter was teaching accordion in the local music school when he was asked to teach a harmonica course to beginners. He had no experience of teaching harmonica, but with the help of the Austrian Harmonica Association, Helmuth Herold, a professional chromatic player from Trossingen, Germany, agreed to do it. Helmuth taught beginners and advance students twice a year until the early 1990s. When Helmuth was no longer able to do it, Walter took over the classes.
The Landesmusikschule (LMS) was established in 1971. The teaching of harmonica (Mundharmonika) in the school was officially recognised in 1975 and classes started with four pupils. More soon followed. Other teachers wanted to learn to play and soon they had a harmonica group. In 1984 the current music school building was opened.
In 1985, the first school orchestra (Harmonicachoir) was formed. It had 20-25 teenage members and was led by Walter Buchinger and Margareta Rathner. The repertoire included original music for harmonica, classical and well known International popular music.
Soon they were playing concerts away from the school, beginning with one on Austrian TV. Their international appearances started with a harmonica festival in Innsbruck (Austria) in 1986, and in 1987 they performed at the Hohner 130th anniversary festival. Later that year they appeared in the first World Harmonica Championships in Jersey (Channel Islands), organised by Jim Hughes. They won the youth competitions (group and orchestra) and played in the evening concerts. This brought them worldwide recognition.
In 1988 they performed at the festival in Helmond (Holland). In 1989 they held an international festival in Laakirchen and were invited to the first of the new Hohner World Harmonica Festivals in Trossingen, Germany. They continued to take part in this four yearly festival until 2005.
The concerts continued with one in Beer Sheva (Israel) in 1990. In 1991 they released an LP containing pieces of music from their performances called ‘Our Music– Our World‘ (Unsere Musik – Unsere Welt).
1991 also brought the biggest journey for this group of children and adults when they took part in the SPAH/IHO festival in Detroit, (USA) again winning prizes in the solo, group and band categories.
Festivals followed in Portugal (1993), Austria (1994), Trossingen (1993,1996, 2001, 2005), and the IHO Millennium Festival in Bournemouth, UK (2001) where they again won many of the prizes and featured in the concerts.
When pupils left the music school many went on to form their own groups and solo careers.
Maria Wolfsberger – World Champion (1991-1993)
Trio Mahabri – Maria Wolfsberger, Johann Ortner/Thomas Stockhammer, Brigitte Laska (1989)
Vigorous Quartett/Quintett – Mara Bachlechner, Anna Waldl / Martha Kreutzer, Judith Kreutzer, Marlene Hummelbrunner
Walter stopped teaching at the Music School in 2003 after 30 years in charge.
His last major performance with the harmonica orchestra was at the World Harmonica Festival in Trossingen, Germany, in 2005, where he conducted a group of 60 young and adult harmonica players.
Some harmonica teaching is still going on in the Music School led by Nicola Feichtinger and Olivia Winzer They are good teachers so the golden years may come again – we will see.
Walter is now in his 80s and enjoying his retirement. He continues to play with a group of senior players and has taught himself how to play the Chordomonica which was developed by Cham-ber Huang because of the chords it can play. With a growing family, house and garden he says he is the ‘chief cook and bottle washer‘ – a phrase he learned from his old friend Jim Hughes.
Walter always insists that the orchestra was a group activity with many school staff and parents providing help and support, especially on their many visits to foreign counties. There are far too many people to mention by name but please accept his thanks to all of you that you that contributed.
Here are the tracks from the LP released by Walter in 1991 of the orchestra playing some of their favourite light music and popular pieces.
Here are a couple of videos from the World Harmonica Festival in Jersey (UK) in 1987.
Scherzino
Puppet on a String
The Mundharmonikachor Laakirchen
This is the full performance of the Harmonica Society of Laakirchen, Austria, in the Evening Concert at the IHO Millenium Festival in Bournemouth (UK) in 2000, organised by John Walton.
The orchestra was composed of children from the music school, parents, helpers and teachers from the town.
