Technique and Interpretation
Building on Hugo Noth’s inclusive approaches, Joseph Petric’s technique was the first to be scientifically grounded inside functional anatomy and neurology. He codified and integrated the use of vibrato and the principles of “circular” Baroque bowing in the accordion art.
Joseph advocated for the use of sound post and resonators designed to enhance the natural sound of the accordion in the 1990s more than 10 years before the Pigini Eigen Series was introduced in the early 2000s. His innovative design of reed block chambers solved the historic issue of dead air gaps and poor reed response in the low registers of the bass keyboard. With Canadian builder and tuner Leo Niemi of Sudbury, Ontario he developed unique Baroque style tunings to allow dependable attack and articulation of the accordion reed in all registers. And Niemi’s unique tuning systems allowed the accordion to retain its tuning integrity for years instead of months.
All these advances allowed for a greater stability of intonation, a wider colour palate and an unprecedented projection of accordion sound, most notably in the role of soloist in symphonic concertos.
Critic Stephen Pedersen, Halifax Chronicle Herald pronounced Joseph’s solo Bach “a union of poetic imagination, profound musicianship…exquisite…”
In his performance of the Berio Accordion Sequenza at Seiji Ozawa Hall the Boston Globe heard “an extraordinary performer…eloquent…moving”.
Joseph’s concerto performances were noted for “astonishing bravura…” Musical Opinion London and for their “gripping…consistent emotional power.”
American Record Guide.
Joseph’s chamber music performances were pronounced a “subtle seduction…mesmerizing.” Phillips Gallery Series, Washington, “a glittering exhibit…” Chicago Tribune, “buoyant showmanship…” Toronto Globe and Mail and “sheer brilliance…” Los Angeles Times.