Nice

Milan Osadsky (*1983) started to accordion playing under his grandfather supervision when he was 3 years old. Later studied on School of Arts in Dolny Kubin (V. Pridavok), Conservatory in Zilina (Martin Duris, Igor Gajan). His studies continued in VSMU in Bratislava supervised by Rajmund Kakoni and Boris Lenko, and were fi nished in 2010 by PhD. Degree. During his studies he had successfully attended different local and international contests. He regularly performs on concerts in Slovakia and abroad as well. He plays solo or as a member of an ensemble specialized in contemporary music – Veni, Ostravska banda, Melos Ethos Ensemble. He cooperated with Symphonic Orchestra of Slovac Radio, Chamber Orchestra Berg, conductors Peter Rundel, Zsolt Nagy, Daniel Gazon, etc. He is double laureate of The Contest of Slovak Conservatories and he holds many other awards (International accordion contest Roveredo, International Festival of Accordion Music in Przemyśl, Jan Cikker Festival in Banská Bystrica, etc.) His repertoar consists mostly of 20th century music and contemporary music. Milan Osadsky`s accordion Accordion is a specifi c instrument: it has registers by which it reminds organ, but in the difference it breathes; it has no strings, but has bow like a bow instrument. It is handled by keyboard, but it can be worked with a tone also in its progress. At the end, it also can be used as percussion. Accordion is a typical instrument for many very different folk music cultures (Argentina, Brazil, Bosnia and Hercegovina, Czech Republic, Slovakia, Finland, France, Ireland, Italy, south states of U.S., Austria, Russia, it’s played by Zulus from Botswana to Zimbabwe...) We can fi nd accordion in blues, jazz, pop and rock as well. Of course, it doesn’t stand out of classic music composer’s concern – the repertoire of this instrument grown up enormously during last half-century as solo instrument, as well as in different instruments combinations. Expressive palette of sound colours and interpreters techniques expands. Accordion has an ability of huge dynamic range and very mild nuances as well. Expressive range of the accordion, which was understand as very limited for a long time, expands because of infl ow of new compositions. Nevermind on the instrument, it is always most important who plays in it. Milan Osadský works with the accordion like a sculptor: for him, music is the result of a process, which can be compared to modelling. According to any composition’s need, he moulds the sound, forms, jerks, tears or strokes, he squeezes a sound from instrument like a juice or he shears it like with an axe. Unique masterful instrument allows him to start playing softest touches of colours or to change sharp contrasts. Haptic quality of his expression is obvious in the fi rst hearing; the sound comes out as if in careful refi ned shapes. We can hear here the accuracy of fi nger technique and the tiny differences in the way of articulation, where it’s needed. Sometimes the sound is almost sublimated in delicate air shake; otherwise its origin is hardly recognizable in rough clusters. The accordion sounds differently for every composition in Milan Osadsky’s hands – every composer has his own specifi c acoustic world. This is the secret of interpretative art, that’s how it should be anytime. Howgh! Jaroslav Šťastný