John Serry, Sr.

John Serry, Sr., circa 1967

John Serry, Sr. (born Giovanni Serrapica; January 29, 1915 – September 14, 2003) was an accomplished concert accordionist virtuoso, arranger, composer, organist and educator who performed on the CBS Radio and CBS Television networks. As a concert artist and soloist he elevated the use of the accordion within a full range of professional orchestral ensembles for over four decades during the early twentieth century.

Biography

Born Giovanni Serrapica in Brooklyn, New York to Italian-American parents Pasquale Serrapica and Anna Balestrieri of Castellammare di Stabia, Italy, Serry pursued an artistic career which spanned seven decades. As an exponent of Latin American music and the free-bass accordion, he attained recognition through live radio and television performances on the CBS radio and television networks which were broadcast throughout the United States. He acquired additional recognition as the featured piano accordion soloist on the radio music program Viva América, which was broadcast live to South America under the United States Department of State's Office for Inter-American Affairs' (OCIAA) cultural initiative for Voice of America during World War II.^{[1][2][3][4][5]}

As a member of the CBS Pan American Orchestra (1940–1949) and the Columbia Concert Orchestra (1940–1949), Serry achieved success as a professional concert accordionist and featured soloist thereby helping to gain recognition for his instrument on the concert stage. Several of his broadcasts with the CBS Orchestra (1949–1960) on the CBS network are available to researchers and members of the general public as part of the permanent archive collection of the Paley Center for Media in New York. His professional studies were pursued with the 20th-century composer and music educator Robert Strassburg (1915–2003)^[6] (who had studied with Igor Stravinsky and Paul Hindemith) and the theater organist Arthur Guttow (who was featured at the keyboard of the Mighty Wurlitzer in Radio City Music Hall).

Through his concert engagements over a forty-year period, Serry performed within a wide ranging spectrum of orchestral ensembles including: Big Band jazz orchestras (see The 1930s below), classical concert orchestras. (See The 1940s and the 1960s below), network radio and television orchestras (see The 1940s and the 1950s below) and Broadway Theater orchestras. (See The 1950s and the 1960s below). In the process, he demonstrated the accordion's flexibility as an orchestral instrument at such concert venues as: the Rainbow Room at Rockefeller Center (1935);^[7] the Starlight Roof at the Waldorf Astoria Hotel (1936–1937);^[8][9] Radio City Music Hall (1935);^[10] the Palmer House in Chicago (1938);^[11] the Biltmore Hotel in Los Angeles (1938);^[11] Carnegie Hall with Alfredo Antonini conducting (1946);^[12] the Plaza Hotel (1940s); The Town Hall (1941–1942);^[13][14][15] the Ed Sullivan Theater (1959) for CBS television (see below); the Empire Theater (New York) (1953);^[16][17] the 54th Street Theatre(1965);^[18] the Majestic Theatre (1968);^[19] The Broadway Theatre (1968);^[20] the Imperial Theater (1968);^[21] the New York State Theater at Lincoln Center (1968);^[22][23][24] and such New York society nightspots as El Morocco, El Chico and The Riviera in the 1930s. (See Biography below).

Serry augmented his accordion work as an organist later in life. He held a thirty-five year tenure performing as a free-lance organist at the Interfaith Chapel on the Long Island University C. W. Post Campus in Brookville, New York where he specialized as both a performer and composer of interfaith liturgical music and classical music. (See The 1970s–2002 below).

Early musical influences

John was the fourth sibling in a family of thirteen children raised by Pasquale and Anna Serrapica in Brooklyn, New York. His first exposure to classical music occurred through the influence of his father who entertained his children with performances on the mandolin and the piano. John exhibited a natural talent on the piano at the age of five and was encouraged by his father to accompany him at the keyboard and to perform with phonographic recordings of classical music by such leading European composers as: Verdi, Puccini, Rossini, Beethoven, von Suppé and Mozart.

Recognizing his son's natural talent, Pasquale encourage John to continue his studies on the accordion after a nearly fatal illness interrupted his work on the piano. At this stage, Serry was pursuing studies at Brooklyn Technical High School while preparing for a career in architecture. His father encouraged him to also continue his musical instruction with the accordionist Joseph Rossi from 1926 to 1929 at the Pietro Deiro School in New York. Live performances on the Italian radio station WCDA soon followed at the age of 14. Studies in piano and harmony were undertaken with Albert Rizzi from 1929 to 1932 and in harmony and counterpoint with Gene Von Hallberg (founder of the American Accordionists Association^[25]) in 1933/34. A lifelong friendship with the accordionist Louise Del Monte was established as a result of these studies. Del Monte awakened Serry's interest in Latin American music. With Del Monte's guidance, appearances with the Ralph Gomez Tango orchestra at the Rainbow Room at the RCA Building in Rockefeller Center soon followed and Serry's professional career was launched.^[7]

After achieving success in the 1930s, Serry married his wife Julia in the 1940s and moved to Nassau County, New York on Long Island in order to raise a family of four children, one of whom is jazz composer/pianist and contemporary classical composer/percussionist John Serry, Jr.^[26] He simultaneously undertook private studies with Joscha Zade in piano (1945–1946), Arthur Guttow in organ (1946) and Robert Strassburg in orchestration and Advanced Harmony (1948–1950) while specializing in the musical compositions of Gershwin, Debussy and Ravel.^[27]

The 1930s: The big band era

Serry's musical career first took shape during the 1930s when he collaborated and performed with a variety of conductors and arrangers. During the Big Band era in New York City, these included Erno Rapee – conductor of the Radio City Music Hall Orchestra, with Serry as the first on-stage accordion soloist (1933);^[10] Ralph Gomez – a Cuban orchestra leader in an extended engagement at the Rainbow Room at Rockefeller Center(1935);^[7] the Hugo Mariani Tango Orchestra at the Waldorf Astoria Hotel (1930s);^[28][29][30] Alfred Brito – a Cuban orchestra leader in New York (1936), and Misha Borr, sometime conductor of the Waldorf Astoria Hotel house orchestra during the early 1930s.^[30] He also appeared as a soloist for society functions during this time at the Waldorf Astoria Hotel's exclusive Waldorf Towers and at its intimate Starlight Roof. In addition he performed regularly at such exclusive society clubs as: El Morocco, the Rainbow Room, El Chico and the Riviera in New York City, New York.^[7]

Serry received national exposure as a result of his collaborations with the jazz conductor Shep Fields^[31] in performances with Shep Fields and His Rippling Rhythm orchestra. These performances included a nationwide tour which featured live radio broadcasts from the Palmer House hotel in Chicago, Illinois and the Biltmore Hotel in Los Angeles, California over the NBC network (1937–1938).^[11] They were noteworthy for utilizing the Zenith Electronics Corporation's new Radiogran broadcast technology. Serry's performances as a member of the orchestra and soloist are documented in a segment of Paramount Pictures' motion picture musical anthology The Big Broadcast of 1938.

In addition to participating in concerts, Serry launched his career as an educator by serving as Assistant Dean of Accordion and Harmony at the Biviano Accordion Center in Manhattan (1939).^[32][33] In this role he provided instruction to students of the accordion who shared his interest in orchestral jazz until 1942.^[34][35]

The 1940s: The golden age of radio

Serry's experience with Shep Fields in live radio broadcasting during the 1930s proved to be useful during the "golden age of radio" in the 1940s. Eager to enter the realm of classical concert music, Serry performed on the CBS radio network in collaboration with several concert artists who were familiar to audiences in New York City including: Marianne Oswald – a.k.a. Marianne Lorraine,^[36] a French chanteuse – in a performance of works by the American poet Carl Sandburg at Town Hall (1942),^[13][14] and Alfredo Antonini – conductor CBS Pan American Orchestra on the CBS network (1940–1949)^[37][38] and conductor for the Viva América^[39] program on CBS for the Department of State – Office for Inter-American Affairs (OCIAA).^[30][38][40] He also performed within Antonini's orchestra in the Night of the Americas Concert gala staged at Carnegie Hall in 1946.^[12] While on staff at CBS, Serry was featured on several popular network broadcasts including: The Gordon MacRae Show Star of Stars broadcast live from the CBS Starline Roof (1946) featuring Serry as solo artist; The Danny O'Neil Show featuring Serry as guest artist (1946); The Coca Cola Show on the CBS network with the Percy Faith Orchestra conducted by Percy Faith (1948); The Jack Smith Show (1947); The Jean Sablon Show (1947); and Studio One with cellist Bernard Greenhouse, a protégé of Pablo Casals (1947).^[41]

His interest in classical music also extended into the realm of opera. At the start of the decade, he performed at Town Hall under the baton of Alexander Smallens in concert performances of Virgil Thomson's Four Saints in Three Acts (1941).^[15]

Collaborations with established international concert artists also developed during this period including: Terig Tucci^[42] – Argentine composer and musical program arranger/director for the CBS Pan American Orchestra broadcasts on CBS and to South America over La Cadena De Las Americas ("Network of the Americas")^[43][44] and musical director for Macy's Latin-American Fair of 1942 broadcasts over CBS;^[45][46][47] Juan Arvizu – the Mexican "Tenor with the Silken Voice" and bolero dancer on the CBS network (1940s);^[48] Nestor Chayres – a Mexican tenor, a.k.a. "El Gitano De Mexico", on the CBS network (1942 and 1945);^[49] Eva Garza – the Mexican songstress featured on Viva América for CBS/ABC radio;^[50] Miquel Sandoval – pianist on the CBS network (1940s); and Marlene Dietrich^[51] – in a performance of Lili Marlene on CBS radio, John Serry, Sr. accompanist (1945).

A variety of recording artists also participated with him including: Victoria Cordova vocalist and Alfredo Antonini, conductor for a recording session on Muzak (1949); RCA Victor's transcriptions division for recordings of over thirty compositions by Serry's ensemble the BelCordions (four accordions supported by string bass and guitar) for broadcast over the NBC network (1946); and the Biviano Sextette in a performance for a series of LP recordings (1946).

In the realm of live international radio broadcasts, Serry also performed for the general public in both North and South America over the CBS Radio network. Several performances were even enjoyed by Eleanor Roosevelt and various high level South American diplomats during the opening ceremonies of Macy's Latin-American Fair of 1942 in New York City.^[45]

As a member of the famed Biviano Rhythm Sextette, Serry also recorded his composition "Leone Jump" for Sonora records in 1945. This original Swing composition was subsequently released as a single recording by Sonora Records and was feature in jukeboxes nationwide.^[52]

Serry founded and operated a music studio in Manhattan and on Long Island, New York, for over thirty years (1945–1980s) providing instruction on accordion, piano and organ.^[43] He was also invited to contribute to the annual series of Master Accordion Classes and seminars sponsored by the American Accordionists Association in New York City (August, 2000).^[53] Over the years his pupils included: Anthony Ettore, past president of the American Accordionist's Association (1987–1988),^[54] and Robert Davine, an international accordion virtuoso and music educator at the Lamont School of Music at the University of Denver.^[55]

By establishing this private music school Serry was able to continue his performance endeavors while also publishing several method books for his elementary, intermediate and advanced grade students (1945–1983). Publications below).^[30]

The 1950s: Live network television

As the dominance of radio broadcasting gave way to live network television, Serry adapted his talents to embrace the new medium. During the early days of network television in the 1950s, Serry performed at CBS as a staff member of the original CBS Orchestra (1949–1960) and an accompanist on several live network television programs including: The Jackie Gleason Show (1953); The Ed Sullivan Show (1959); The Frank Sinatra Show (1950s), and with organist Billy Nalle,^[56] on the prime time drama I Remember Mama, starring Peggy Wood (1953).^[57]

Serry also collaborated with Mitch Miller at Columbia Records to produce an LP demonstration recording in 1951. Julius Baker (first flautist for the Columbia Broadcasting Symphony Orchestra at CBS and for the New York Philharmonic) joined with him to produce another demonstration recording of his compositions "Desert Rumba" and "La Culebra" (1950).^[58] As television technology improved, he appeared under Andre Kostelanetz, the conductor on the Eastman Kodak Kinescope broadcasts (1951).

Since television broadcasting was still in its infancy, Serry continued his performances on radio as well. He served as a member of the Magnante Accordion Quartet appearing in such shows as The Lucky Strike Hour, Waltz Time, and American Melody Hour. He occasionally substituting for the quartet's founder Charles Magnante.^[30]

As the popularity of the accordion continued to flourish, he also ventured onto the Broadway stage where he joined Shirley Booth, Dino Diluca (an Italian romantic actor), and the actress Lydia St. Clair^[59] in a production of Arthur Laurents play The Time of the Cuckoo.^{[16][60][61][62][63]} Serry served as soloist and musical director at the Empire Theatre on Broadway in 1952.^{[16][17][64][65]}

Based upon the popular appeal of these endeavors, he composed, arranged and performed several compositions for Dot Records (#DLP3024) with Al Caiola^[66] on his album Squeeze Play^[67][67][68] (1956). He also recorded for Decca Records during this time and collaborated with Ben Selvin at RCA Victor to produce a second record album entitled RCA Thesaurus (1954). Also noteworthy in the popular genre was his recording of his work Leona Jump with Tony Mottola on guitar and Angelo Delleria on accordion for Sonora Records in 1946.^[69] These activities led to Serry's nomination to the "Who Is Who In Music International" in 1958.^[27]

His advanced grade composition American Rhapsody was completed and published during this decade in 1955. (See Advanced compositions below). An additional course of instruction was also completed for students of the accordion at the U.S. School of Music at the start of this decade.^[70]

The 1960s: Broadway theatre

The 1960s ushered in a new era of popular entertainment suited to general audiences. During this golden age of the musical theatre, Serry collaborated on the Voice of Firestone with the conductor Howard Barlow^[71] (guest conductor for NBC Television in 1961^[72]) and on The Revlon Revue (1960) for CBS Television.

As Broadway theatre continued to flourish, he also appeared in such productions as: Cabaret (musical)^[21] at the Imperial Theatre (1968);La Grosse Valise^[18] (1965) (composer Gerard Calvi, lyrics by Harold Rome, musical director Lehman Engel); The Happy Time^[20] starring Robert Goulet at The Broadway Theatre (1968 Tony Award Best Musical), and Fiddler on the Roof^[19] starring Zero Mostel at the Majestic Theatre (1968).

Performances for the general public were presented at the 1964 New York World's Fair in the Seven-Up International Gardens Pavilion. As a participant in the Seven-Up Continental Band, he showcased musical selections from around the world for the dining pleasure of fair-goers within the pavilion's intimate fiberglass pods beneath the Seven-Up Tower.^{[73][74][75][76][77][78][79]}

Later in the decade he appeared in a revival by the bandleader Guy Lombardo of Oscar Hammerstein II's South Pacific at the Jones Beach State Park Theater on Long Island (1968).^[80][81] The production featured Jerome Hines and Kathleen Nolan in the starring roles and was directed by Oscar Hammerstein II's son William Hammerstein.^[80]

Returning to the classical concert venue, Serry served as the lead concert accordionist in performances of the New Ballet staged to the music of Tchaikovsky at the New York State Theater (1969).^[82][83][84] The production was performed as part of the 25th anniversary season of the New York City Ballet and was choreographed by Jacques d'Amboise.^[85][86]

His advanced grade composition Concerto For Free Bass Accordion was completed during this decade in 1966. (See Advanced compositions below).

The 1970s to 2002: Liturgical concerts

At the start of the 1970s, Serry continued his work as an accordionist in a limited revival production of Fiddler on the Roof with Zero Mostel at the Westbury Music Fair on Long Island, New York.^[87] As the decade of the 1970s unfolded, however, the publics' interest in the accordion began to diminish. With this in mind, Serry elected to devote more time to playing as a concert organist.

During the course of the next thirty five years, he appeared as an independent free-lance chapel organist at the Interfaith Chapel of the Long Island University C. W. Post Campus^[88][89] in Brookville, New York (1968–2002). In addition to performing regularly during interfaith wedding ceremonies, he composed a "Processional for Organ" which was featured during the chapel's dedication ceremony. Working in collaboration with Peg Larson (Assistant Director-Chapel Scheduling), Rabbi Nathaniel Schwartz (Independent Chaplain) and clergymen from the Catholic Church, Serry arranged musical programs for literally hundreds of wedding parties and their invited guests.^[90]

In accordance with the ecumenical and liturgical guidelines for interfaith ceremonies, Serry performed sacred music reflecting a variety of religious traditions, including: Catholicism, Protestantism, Judaism, and Eastern Orthodox. His brief concerts were presented prior to each wedding ceremony on both the organ and the piano. Musical accompaniment was often provided for vocal soloists as well. His concerts featured classical and contemporary works by such composers as: Johann Sebastian Bach, Beethoven, Leonard Bernstein, John Denver, Charles Gounod, Handel, Felix Mendelssohn, Jean-Joseph Mouret, Mozart, Johann Pachelbel, Henry Purcell, Rachmaninoff, Franz Schubert, Tchaikovsky, Eric Satie, Antonio Vivaldi, Richard Wagner, Charles Widor, and Andrew Lloyd Webber. In the process he gave expression to the concept that the language of music is unique in its capacity to transcend all boundaries to unite humanity in peace.

Death

Serry died after a brief illness on Long Island, New York in 2003, age 88.^[91] One of his surviving sons is John Serry, Jr., a jazz pianist, composer, conductor, and arranger.^[92][93]

Musical style

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.^[94] 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.^[94] 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.^[95] 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.^[96] 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.

Works

Published compositions and arrangements

His compositions include:^[97][98]

• "Desert Rumba" (for accordion, 1939; publisher Antobal Music, 1951)
• "Glissando" (for accordion, publisher Biviano Music, 1942)
• "Tarantella" (for accordion, 1942; publisher Alpha Music, 1955)
• "Valse" ( composer Pytor Ilych Tchaikovsky, arr. for accordion, 1946)
• "Fantasy In F" (for accordion, publisher Vicas Music, 1946)^[99]
• "Consolation Waltz" (for accordion, publisher O. Pagani & Bro., 1948)
• "Uncle Charlie's Polka" (for accordion, publisher O.Pagani Bro., 1948)
• "The Bugle Polka" (for accordion, publisher O. Pagani Bro., 1948)
• "Leone Jump" (for accordion, publisher Pietro Deiro, 1956)^[69][100]
• "La Culebra" (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)^[101]
• "African Bolero" (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)^[102]
• "The Syncopated Accordionist" (for accordion, publisher/editor Charles Colin, 1952)^[103]
• "The First Ten Lessons For Accordion" (for accordion, publisher Alpha Music, 1952)
• "Accordion Method Books I, II, III, IV" (for accordion, publisher Alpha Music, 1953)
• "Rhythm-Airs For Accordion" (editor John Serry, publisher Charles Colin & Bugs Bower, 1953)
• "La Cinquantaine" (m. Gabriel Marie, arr. accordion quartet, publisher Alpha Music, 1954)
• "Allegro" (m. Joseph Hayden, arr. accordion quartet, publisher Alpha Music, 1954)
• "Top Ten Accordion Solos – Easy To Play" (editor: John Serrapica, publisher Alpha Music, 1954)^[104]
• "Junior Accordion Band Series" (arr. accordion quartet, publisher Alpha Music, 1955)
• "Tango Verde" (m. Romero, arr. accordion quartet, publisher Alpha Music, 1955)
• "Holiday In Rio" (m. Terig Tucci, arr. accordion quartet, publisher Alpha Music, 1955)
• "En Tu Reja" (m. Romero, arr. accordion quartet, publisher Alpha Music, 1955)
• "Tango Of Love" (for accordion quartet, publisher Alpha Music, 1955)
• "Manolas" (m. Escobar, arr. accordion quartet, publisher Alpha Music, 1955)
• "Petite Tango" (for accordion quartet, publisher Alpha Music, 1955)
• "Garden In Monaco" (for accordion, publisher Alpha Music, 1956)
• "Rockin' The Anvil" (for accordion, publisher Alpha Music, 1956)
• "Selected Accordion Solos" (arr. accordion, publisher Alpha Music, 1956)
• "Spooky Polka" (for accordion, publisher Alpha Music, 1957)
• "Reeds In A Rush" (for accordion, publisher Alpha Music, 1957)
• "American Rhapsody" (for accordion, publisher Alpha Music, 1957)

Unpublished compositions

• "Processional For Organ" (1968)
• "Falling Leaves" (for piano, 1976)^[105]
• "Elegy" (for organ, 1984, Revised 1991)
• "A Savior Is Born" (for organ & voice, 1991)^[106]
• "Dreams Trilogy" (for piano, 1991)
• "The Lord's Prayer" (for organ & Chorus, 1992)^[107]
• "Five Children's Pieces" (for piano, 1996)

Advanced compositions

Serry's compositions in the symphonic jazz and classical music genres include:

• "American Rhapsody" (for accordion, 1955: published by Alpha Music 1957; transcribed for piano, 2002)^[108]
• "Concerto For Free Bass Accordion" (for accordion, 1966; transcribed for piano, 1995–2002, unpublished, a.k.a. Concerto in C Major for Bassetti Accordion)^[109][110]

Discography

• Squeeze Play^[67] – Dot Records (catalogue #DLP-3024) (1956)^[27]
• RCA Thesaurus  RCA Victor Transcriptions series of over thirty works. John Serry, Sr. arranger and soloist with The Bel-Cordions ensemble and Ben Selvin – Music Director (1954).^[27]
• Leone Jump – Sonora Records (catalogue # 3001 B) (1945) ^[52]

Filmography

• The Big Broadcast of 1938 (1938) – as himself, performing with the Shep Fields Orchestra.

Bibliography

• Serry, John (November 1937), "Accordions & Orchestras: Past Present & Future", Accordion World .
• Serry, John (March 1939), "Those Neglected Basses", Accordion World .
• Serry, John (1964), "Jazz And The Student Accordionist", Accordion World .
• Serrapica, John (1952), The Syncopated Accordionist, Charles Colin .^[111]

Professional affiliations

Serry was an active member of the BMI, SESAC, Musicians Local #802 (1933–2003),^[112] and The American Guild of Organists. For a brief period he served as a charter member of the American Accordionists Association (1938). He pursued professional musical studies with: Joseph Rossi (accordion, 1926–1929); Albert Rizzi (piano and harmony, 1929–1932); Gene Von Hallberg (counterpoint and harmony, 1933–1934)(a founder of the American Accordionists Association^[113]); Jascha Zade (piano, 1945–1946); Arthur Guttow (organ, 1946), and Robert Strassburg (piano, advanced harmony, and orchestration, 1948–1950).^[30]

References