Acco Duo
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Since its foundation in 2004, ACCO DUO has advanced to one of the most promising classical accordion duos in Europe. With extraordinary personal commitment, husband and wife team, Ivana Levak and Miran Vaupotic play music that draws its intensity from the contradiction of stately melancholy and impetuously pulsating power.
Both musicians are professors at music conservatories in Croatia. Classical accordion (bayan) duo "Acco" present a combination of unique and charismatic instruments and repertoire that showcase the artists' heritage and training. The bayan (accordion) is an instrument that produces sounds that reflect the language of Old World melodies through its sound. According to the words of the famous composer, Hector Berlioz, “we can hear blood circulating around the world.”
Whether performing spectacular classical and traditional works, or international favorites, Acco Duo's charm and virtuosity is evident in their performances. Croatian duo "Acco" repertoire includes: - Artistic Musical Performances – Bayan duo (button accordion). - Orchestra Performances - Conducting of World and Classical repertoire, virtuoso accordion and bandoneón soloist. - European Folk and Classical Music performances - World favorites and Tango Nuevo.
Acco Duo`s lively program presents an authentic picture of European chamber music tradition and culture. The sound of Acco Duo is dynamic, unique, humorous and superb. It features an exhilarating and educational performance for audiences of all ages!
About Acco Duo
The music interpretations of the two young musicians from Croatia prove their unique ability to combine repertoire that extends from classical to contemporary music with some of their own arrangements. Their goal is to create a Croatian accordion school involving the classical accordion as a serious concert instrument. Acco Duo is one of the most exciting European accordion ensembles!
Ivana Levak Vaupotić – classical accordion
Ivana Levak Vaupotić, is an active chamber musician and teacher, presenting dynamic and personal performances, was born in Zagreb on February 11, 1979, where she completed primary music school at Zlatko Baloković in the classes of Professor M. Ivković, Elly Bašić M. Krajna and Professor S. Magdić. Ivana graduated in 2003 with a degree in Theory of Music along with vocal and orchestral conducting with eminent conductor, Maestro Miroslav Homen. In 2004, Ivana completed her studies in Classical accordion with Dr. S. Magdić, both of which are on the Faculty of Arts in Pula. Presently, she serves on the faculty at “Franjo Lučić – Arts school” as professor of classical accordion. As soloist and member of chamber ensembles she has been won numerous awards. Ivana has performed in Italy, Germany, France, Belgium, Netherlands, Romania, Czech Republic, Slovenia and Croatia.
She attended specialization courses with world-famous accordionists such as P. Soave (USA), O. Murray (Great Britain), D. Modrušan (Croatia), V. Balyk (Ukraine), J. Shishkin (Russia) and A. Skliarov (Russia). During her studies she also performed as conductor of Academic choir and orchestra of Pula’s Faculty of Arts. As such, she has had 31 recognized performances with “Naš Kanat je lip”, festival Classical Summer in Labin, ceremony of Slavko Zlatić 2003 and many others.
Miran Vaupotić – classical accordion, bandoneón
Thrills and delights audiences with his energetic and captivating performances.
He was born on March 26, 1982 in Zagreb, Croatia. The young performer's first musical steps were with his grandfather. After graduating from the music school in Zagreb (1990-1996) at the age of 14, Miran was enrolled into Elly Bašić music school (1996-2000) in the class of Marjan Krajna. He then continued his education at the music academy Ino Mirković in Lovran (2000-2001), which works according to the license of the Moscow State Conservatory, P.I. Tschaikovsky in the class of the Professor V. Balyk (Honoured artist of Russia) and Faculty of Arts in Pula (2001-2004) in class of Professor D. Modrušan (diplomant of Kiev National Conservatory). His studies at this famous academies exposed him to numerous musicians of international reputation such as Peter Soave, Yuri Shishkin, Alexander Skliarov, Owen Murray and many others. Miran Vaupotić is the threefold winner of the All-Croatian Competition in 1998, 2000 and 2002, prizewinner of Pula International Accordionist`s Competition 1999 and laureate of premium of International Accordion Competition World Trophy (Trophee Mondiale de l` accordéon) 2003. In 2003 he was also awarded with Rector´s scholarship of Rijeka University. Miran`s repertoire includes broad range of classical and contemporary music. Many of the works he plays are his own transcriptions written for the bayan. He has toured extensively as a soloist in Switzerland, Belgium, Netherlands, Italy, France, Germany, Romania, Slovenia and Croatia. Additionally and has performed with various eminent ensembles, orchestras and soloists such as Valentina Fijačko, soprano, Robert Belinić, guitar, Rucner String Quartet, Zagreb Soloists, Croatian Chamber Orchestra, Rijeka Philharmonic etc. His performances were recorded for the Croatian National radio and television network and broadcasted by Croatian, Portuguese and Romanian Radio. Miran Vaupotić performed premier performances of Concert pieces by Adalbert Marković and Sexteto by Dubravko Palanović, and also the world premier of Late August Session composed by Tomislav Uhlik, as well as Croatian premiere of first bayan concerto in history of Croatian music – “ESHATON” by Davor Bobić. Inspired by the music of Argentinian composer Astor Piazzolla, Miran began including characteristic bandoneón in his performances.
About the instruments
The BAYAN is one of the most advanced chromatic accordions. The sound of the bayan is produced by freely vibrating metallic reeds, just like that of the accordion from which it comes. Although this principle was actually handed down to us from ancient China (2700 BC.) its present form is an evolution of the work of Viennese organ maker Cyrill Demian, who created the accordion as we know it, in 1829. The accordion spread quickly throughout Europe and notably to Russia where it very soon became extremely popular. People from every social class were attracted to it. In Russia, the instrument developed independently of the rest of Europe. The chromatic version that the most talented accordion makers created there became known as the bayan in honour of a well-known Russian bard of antiquity. The bayan was invented in the early 20th century, and the first solo bayan concert occurred in 1935 in St. Petersburg.
At first all original music for the bayan was composed by bayanists for their own use, but when the modern composers began to create serious concert works for the instrument it came to be respected as a classical instrument. It's versatility lends itself to all types of music. By the end of the XIX th century, the bayan was already well-established in Russia, as a serious concert instrument. Musicians actually considered that its swell system acted much like a bow, enabling them to take full advantage of the instrument's polyphonic and harmonic chants. Its construction also allows the musician to play with both hands without needing to transpose or arrange the music. The bayan has been a part of the curriculum of the country's conservatories for over 100 years.
Although this instrument is still very young compared to the violin, the guitar or the piano, the demand for it has done nothing but grow. Ever since the October revolution, innumerable pan Soviet and local bayan competitions have been held, and today's Russia there are many full bayan orchestras capable of interpreting practically the entire classical repertoire. In the last couple of decades, the bayan's reputation has spread beyond Russia's borders. It figures prominently nowadays at international accordion competitions all over Europe.
The BANDONEÓN is a free-reed instrument particularly popular in Argentina. It plays an essential role in the orquesta tipica, the tango orchestra. The bandoneón, called bandonion by its German inventor, Heinrich Band was originally intended as an instrument for religious music and the popular music of the day, in contrast to its closest cousin, the German Concertina (or Konzertina), considered to be a folk instrument. German immigrants to Argentina brought the instrument with them in the early twentieth century, where it was incorporated into the local music. Like accordions and concertinas, the bandoneón is played by holding the instrument between both hands and either pushing in or pulling out the instrument while simultaneously pressing one or more buttons with the fingers.
Unlike the piano accordion, the bandoneón does not have keyboards per se, but has buttons on both sides; and also unlike the accordion, most buttons on the bandoneón produce a different note when played closing than when played opening. This means that each keyboard has actually two layouts - one for the opening notes, and one for the closing notes. Since the right and left hand keyboards are also different, this adds up to four different keyboard layouts that must be learned in order to play the instrument. There is also a difference between the notes produced on the button layout of an Argentine-tuned bandoneón versus a German-tuned one.
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