| violacd01:
American Hanuri Prinsessa Volume 1 1928-1929 CD by Viola Turpeinen |
| Viola
Turpeinen tanssit Kiipilla |
Traditional
|
3:01
|
| Hamara
sotiisi |
Traditional
|
3:17
|
| Hollolan
polkka |
Traditional
|
3:06
|
| Kulkurin
serenaadi, valssi |
Drigo
|
3:03
|
| Vanhanmaan
sottiisi |
Traditional
|
3:09
|
| Emman
valssi |
Sleffent
|
3:06
|
| Kauhavan
polkka |
Traditional
|
2:54
|
| Violan
polkka |
Guido
Deiro
|
3:34
|
| Penttila's
Waltz |
Traditional
|
3:25
|
| Jake's Schottische |
Traditional
|
3:11
|
| .Jäähyväisvalssi (Farewell Waltz) |
Ernst
Rolf
|
3:22
|
| Hanurimarssi (Accordion March) |
Traditional
|
3:25
|
| Pääskysvalssi (The Swallow Waltz) |
Traditional
|
3:31
|
| Hymy huulilla - mazurka (Sweet Smiles) |
Traditional
|
3:08
|
| Suomi sottiisi (Finnish Schottische) |
Otto
Hultner
|
3:15
|
| Violan masurkka (Viola's Mazurka) |
Traditional
|
3:21
|
| Jalasjärven polkka (Polka from Jalasjärvi) |
Traditional
|
3:09
|
| Jalasjarven
polkka |
Herman
Vähämäki
|
3:04
|
| Viulupolkka |
Traditional
|
3:06
|
| Soittajan polkka |
Traditional,
Pietro Deiro
|
3:23
|
| Mustalaisen
sottiisi |
Traditional
|
2:52
|
|
Total
Time
|
65.12
|
|
Name
|
Time
|
mp3
file size
|
| Viola
Turpeinen tanssit Kiipilla |
20s
|
|
| Hamara
sotiisi |
20s
|
|
| Hollolan
polkka |
20s
|
|
| Kulkurin
serenaadi, valssi |
20s
|
|
| Vanhanmaan
sottiisi |
20s
|
|
| Emman
valssi |
20s
|
|
| Kauhavan
polkka |
20s
|
|
| Violan
polkka |
20s
|
|
| Penttilan
valssi |
20s
|
|
| Jukan
sottiisi |
20s
|
|
| Jaabyvaisvalssi |
20s
|
|
| Hanurimarssi |
20s
|
|
| Paaskysvalssi |
20s
|
|
| Hymy
huulilla, mazurka |
20s
|
|
| Suomi
sottiisi |
20s
|
|
| Violan
mazurka |
20s
|
|
| Ihanne
valssi |
20s
|
|
| Jalasjarven
polkka |
20s
|
|
| Viulu
polkka |
20s
|
|
| Soittajan
polkka |
20s
|
|
| Mustalaisen
sottiisi |
20s
|
|
| Description: American Hanuri Prinsessa Volume 1 1928-1929 CD by Viola Turpeinen |
Viola Turpeinen Biography Other Viola Turpeinen CD's
Viola
Turpeinen (1909-1958) was the best-known Finnish-American
accordionist of her time. She toured widely in Finnish communities
and made a large number of recordings with the violinist John
Rosendahl and her own orchestra. She was probably the first
woman in the world to record accordion solos.
She
was a beautiful woman with blue Finnish eyes and light brown
hair. She wore colourful dresses and often had a flower in
her hair when she played. Her name VIOLA was boldly embroidered
on her piano accordion. Her repertoire consisted mostly of
Finnish dance music, but she also played Italian virtuoso
accordion pieces and arrangements of classical music. Her
own favorite was the overture from Rossini's "The Barber
of Seville".
Viola
Irene Turpeinen was born November 15, 1909 in Champion, Michigan.
Her mother Signe Viitala was born in the same town in 1892.
Her father Walter Turpeinen, a miner, was born in Kivijarvi,
Finland. Viola had two sisters. When she was a child, the
family moved to Iron River, Michigan. Across the street from
their home on Cedar Avenue was Bruno Hall, the meeting hall
of Italian immigrants. Viola would often hear the strains
of accordion music emanating from the hall, and whenshe was
fourteen, her father bought her a two-row accordion. She later
on switched to the piano accordion. Her first teacher was
an Italian named Bianchi from the nearby town of Caspian.
Soon she was playing for dances at Bruno Hall and the local
Finnish Workers' Hall. Subsequently she continued her studies
at the Piersante School of Accordion in Chicago.
John
(Jukka) Rosendahl, Viola's first partner, was born as Juho
Hugo Hemming Wiren in Elimaki, Finland on May 22, 1891. He
migrated to America with his brother in 1908 and took the
name Rosendahl. John Rosendahl was a good-looking, well-dressed
man and a born entertainer. He painted signs, exhibited movies
and held a variety of other jobs until he became a professional
musician. His first instrument was the violin, but he also
played the banjo. In the 1920s Rosendahl was touring the Finnish
communities in Michigan, Minnesota and Wisconsin with acrdionists
Antti Kosola and Isac Mikkela. He first heard Viola Turpeinen
at the North Star Hall in Ishpeming in August 1926 and was
so much impressed by her playing that he asked her parents
to let her accompany him on a tour across America.
In
September 1927 Turpeinen and Rosendahl were ready to emabark
on a tour which took them east through Finnish communities
in Illinois, Ohio and Massachusetts. On Cape Ann, Massachusetts
they played at a Finnish hall and inspired the local songwriter
Antti Syrjaniemi to compose a song celebrating the event (Viola
Turpeinen tanssit Kiipilla/Viola Turpeinen's Dance on Cape
Ann). Syrjaniemi recorded it for Victor in 1929, and it opens
this CD. In the song, Syrjaniemi claims that Viola played
like heavenly bells.
By
January 1928 Turpeinen and Rosendahl had reached New York,
where they made their first recordings for the Columbia Phonograph
Company. They were paid 35 dollars each for the four sides,
a total of $140. The titles recorded are typical of the duo's
repertoire. "Hollolan polkka" and "Vanhanmaan
sottiisi" are traditional Finnish dance tunes. "Hamara
sottiisi" is a schottische composed by the Swedish-American
accordionist Edwin Jahrl and also recorded by the composer
i 1926 for Columbia as "Skymnings tankar". "Kulkurin
serenadi" ia an adaptation of Drigo's virtuoso piece
"Les milliones d'arlequin"
Four
weeks later they made another set of six records for the Victor
Talking Machine Company. This time the titles included the
"Variety polka" by Guido Deiro, an Italian accordionist
who has inspired many Scandinavian accordionists (but here
without proper credit adn with the title changed to "Violan
polkka"). The move was probably motivated by the fact
that Victor paid them $50 for each title, more than Columbia.
Their success encouraged Viola to buy a new Exceldior accordion
for $1000. This was promptly reported in the Finnish-American
press.
The
duo returned to the Midwest in February 1928 adn played mostly
in Finnish communities in Minnnesota, with occasional visits
to Michigan and Canada. In the autumn they toured Illinois
and Ohio, stopping in Chicago for two days in November to
record seven new titles for Victor. In spring 1929 they were
again in New York, playing mostly at the Finnish Workers'
(Tyovaentalo) at 5th Avenue and 127th Street on Manhattan,
at Kaleva Hall in Brooklyn and occasionally on the New Jersey
side. An entry in John Rosendahl's diary tells us that on
April 4, 1929, they sold 818 tictes at the Worker's Hall.
On usual occasions, the audiences had varied from 200 to 400.
1929
was a boom year for American record companies. There were
millions of immigrants in America, and record companies were
eagerly producing records for the "foreign record trade",
as music for immigrants was then called. In 1929 Columbia
and Victor issued nearly a hundred records by Finnish-American
artists. On May 7 Turpeinen and Rosendahl recorded three titles
for the Victor Talking Machine Company at their 16 West 46th
Street Studios.
Three
days later they were again called to record four titles, this
time at 111 East 58th Street. These recordings, and more,
will be found on the second CD of the Viola Turpeinen collection.
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