Richard at the opening of his one person gallery exhibit at San Francisco’s FOG gallery in 2020.
- Here is a link to a video walk through of Richard’s exhibit at the FOG Gallery in San Francisco, 2020:
First of all please appreciate that by no means am I a professional musician, but what I am is a visual artist who plays music. I play for the enjoyment and challenge of improving over time and making ever better music. I’ll qualify that without false modesty at all, that I am a visual artist who is trying to play music, trying to turn noises into music. When I was 47 I finally dove in to try to let the music out. I am 67 now. It is a lifetime project for me, a wonderful companion to share my inner life along with being a visual artist, which is my prime endeavor.
Richard Goldberg Artworks website
Riggy:
Have you thought about integrating painting into Irish music?
Richard:
They are integrated not in the sense that music is literally a subject in my artwork. But playing Irish music on the concertina is part of my everyday practice along with working at my studio that completes the whole picture for me.
I do get benefit in that the making of music and making visual art both help me achieve a sense of well-being, and of the time well spent. Both involve acquiring a fluency in a language, one is visual and one is auditory, but both are vehicles of expression. Use of both of those “languages” are opportunities for the magic to happen, when one is not thinking, but feeling and letting intuition and muscle memory take over. I think my fluency is deeper and more agile in the visual art realm but I love playing concertina!
As far as the relationship of my playing music to my artwork I do see another aspect of that. Drawing for visual artists is part of the craft and discipline and becomes a tool to be utilized. It is not only about learning the technique and tools to make artwork directly but a way to train and develop your mind to see and understand better the physical world where we are, its lines, spaces, volumes and relationships. Practicing drawing over time develops and amplifies that power to see, conceive, possess, and synthesize all those things inwardly, within one’s mind’s eye. The activity of drawing was also my way of being inward, a meditation, and I had to do it not just to feel warmed up and confident as I tried to make art but also as an important activity of meaning in my life.
A recent artwork, a wall mounted sculpture: “Rackets #35”, mixed media, 2020
In the last 15 or so years my drive and maybe need to practice drawing obsessively and rigorously has changed and the way I use drawing in my art practice has changed. My point is that it seems that this transition has occurred concurrently as playing Irish music on the concertina has become part of my life, and gained significance for me. The gratification and meditative experience I got through drawing and its being a vehicle of my solitude and time well spent has been transferred into my music practice. I used to bring a sketchbook everywhere I went, not just to the nude model sessions but out in the world, I had to. Now a concertina is usually with me daily and definitely along when I travel so I can find the time and solitude to play and work on tunes. I don’t mean music directly replaced drawing for me but it filled up a space and use of time that was no longer needed to serve the practice of drawing as I had used it.
Riggy:
So you’ve only been playing music for 20 years?
Richard:
Well…When I was a kid I played music and I could even read music, and played in the band. I started out around 8 or 9 on the baritone horn because I thought it would be funny if I asked for a tuba but the earnest and pragmatic teacher thought the smaller baritone horn could be more a more practical fit for my little self. Then I transitioned to trumpet until I was 11 or 12. Later I played guitar but never got very good. I could never even play a complete song. I just liked making noise and playing funky riffs. I bought an electric Teisco guitar for $15.00 from a kid with a small amp and would sit down next to my amp when my parents went out, after enhancing my mood, and twang away and make earth shaking noises. It was a tool of expression for me and enjoyment, but I always thought I did have some natural potential towards musicality that was not served and properly nourished. I never had a real guitar teacher or followed a structured and disciplined approach to learning and playing, and I always regretted that. Letting the music out by getting more serious and having a dedicated approach to learning is what lead me to eventually choosing the concertina in my “middle age”, they call it, But I still can’t retrieve my ability to read the dots!
Richard taking a concertina break at his studio
Here is a link to a few concertina tunes on Richard’s youtube channel
https://www.youtube.com/channel/UChG-MK6QtRc2vIreDHCciJA
Riggy:
What is your history with Irish music?
Richard:
At certain point around 16, inspired by Joni Mitchell I got a mountain dulcimer and twanged away at that over many years and kept it nearby, but never got very good or useful with that either. I still have that busted dulcimer hanging as a decorative object in my home, like a mandolin in an Italian restaurant with atmosphere.
But at another point when I was in college like so many, I first heard good Irish Music played by The Chieftains and was thrilled and enchanted by the rhythms,lovely melodies and deep spirit in the music. The album was called “Boil the Breakfast Early”. Then I started acquiring penny whistles. And also with the penny whistle I never achieved blast-off beyond poor attempts of sounding out facsimiles of beautiful melodies that caught my interest. I carried the whistles around with me on many travels though. Just recently, in a poignantly timed life transitional cleaning-out I realized I had about 7 penny whistles of various keys and brands and was at peace giving them away after a thorough disinfecting. So with the penny whistles as well, I just noodled around and never found traction. I could say with the whistles I began to utilize my ability to learn by ear but I never got the lessons and help that might have gotten me moving in the trajectory of improving and learning how to play within a tradition, with an accent and syntax of Irish music.
But I will say looking back I had the strong urge and feeling, if not the capacity, to let the music out. Not considering practicality or the inconvenience I took my dulcimer and my penny whistle with me traveling around Europe during my last year of undergraduate art school studying in Florence, Italy, where art students for centuries have gone to go the Source. I think I felt I needed to have the instruments with me, just in case. I can’t believe it now but I lugged that dulcimer around with me all over without playing it much. But I can see now that I certainly had the dream.
So music was always on the backburner for me.
I did briefly, in my thirties, investigate learning the uilleann pipes. I spoke to someone at music shop and was easily deterred by the cost of even the learning/starter set. So again I put the music on the back burner.
Eventually in my mid 40’s I was ready to investigate my plan to let the music out. I had many visits to Boaz Accordions in Oakland. I rented a Cajun accordion for a while. Some distracted person swung their car into my fender and I used the modest insurance money to buy a cool Soprani organetto accordion. It was definitely not the kind of accordion for Irish music, but I was in a search of a voice. I went through many many little toy accordions that I would purchase in the Mission District for about $10.00. I emailed Tony McMahon for advice on which tuning I should invest in in a 2 row accordion, and he quickly wrote me back with generous advice!
Early days of noodling on a toy accordion (2002) with young friend Gary
On my first trip to Ireland with my delightful girlfriend, now my wife, one project was to find out more about the mysterious concertina. I had heard a few recordings of the concertina and was starting to appreciate the rich, woodwind tone and its agility, and was moving toward an epiphany. I purchased a recommended Mary McNamara recording in a Dublin music shop and after listening to that music in the car as we traveled the narrow roads for a week or so I was on a trajectory. After returning from Ireland the first time I got the first concertina, a 20 button East German made one. I got some recordings of Irish tunes meant for learning by ear with slowed down versions and faster versions to listen to, absorb and emulate. Immediately I was having a lot of fun. I was encouraged that what was difficult to understand, articulate with my fingers, and play one day, was a bit easier the next day. The whole process just pulled me along and never stops.As it happened 12 years later Imade my second trip to Ireland with my wife, and her mother who was with us for the adventure and to discover her family roots. While they enjoyed the first three days of our trip spending time together sightseeing, I was fortunate enough to have nice long lessons with Mary McNamara in her Tulla music room.
Riggy:
Who have been your teachers?
Richard:
After first just hearing a concertina in how-to recordings and poor attempts to figure the thing out I was lucky to find my way to the inspiring and energetic Jack Gilder in San Francisco. Jack helped me along for a number of years. Jack also helped me get a leg up for attending Noel Hill’s yearly workshops near Portland Oregon. I have since attended Noel’s workshops many times. Noel’s workshops are an opportunity that I can never miss if I can help it.
As teachers go I’ve tried to get as much exposure and variety as I could. It is a wonderful phenomenon that so many of the great and even legendary Irish musicians are so accessible as teachers. I’ve had learning experiences with Gearóid ÓhAllmhuráin, Mary McNamara, Edel Fox, Tim Collings, John Williams, Paddy Egan, and a few more.
I have gotten so much inspiration and help through the wonderful website Concertina.net. Over time I have developed an aesthetic and love for the wee concertina and I am so happy that I can have such a thrilling object nearby to pick up. I get an exhilaration just picking one up and holding such a beautiful thing.
Riggy:
Do you play at sessions and with other musicians in general?
Richard:
I do want to play more with others and have sporadically visited sessions in the Bay Area but I am still hoping for a way to enjoy them and feel I can successfully participate. I’d love to find one or two people I could develop a fun duet experience with, maybe a fiddle or banjo, or mandolin. Playing with others is the route for improvement for me.
My busking career:
I have “retired” recently from my nuisance day job which I loved and practiced for 27 years, working with folks with dementia, providing activities as part of daily life in a long term living facility. With more time now I have been playing out in public. When I play in public I have a much more effective practice as I find myself playing thoroughly through tunes without stops and starts and the distractions I have at home. I am more actively listening to my playing and finding ways to get in the zone.
I don’t think this makes me a professional or even close but I have an old Shriners fez with a few stones to keep it from blowing away that happens to sit out in front of me when I play in public. To my mild shock some of the public seem to find my playing enjoyable enough, or me pitiable enough that sometimes I am rewarded by small and/or larger gratuities. I have to admit that adds to the fun and gratification. Playing for dancing children that pass by, having people smile and nod at me, and having brief conversations make it all the more fun. And if I have a few coins when I’m done to purchase a costly craft IPA no one has been harmed. I usually play on a bench in front of Golden Gate Park’s Conservatory of Flowers. I do that about 3 times a week. When I am finished I pack my instrument away and head off to my studio, for more fun.
Richard playing for the people in GG park
Final thoughts:
For me the concertina and Irish music is a life project. It has integrated with my life as a visual artist, it doesn’t compete. It gives me pleasure, stimulation and richness.
The challenges and pleasure of learning, playing and improving are the great rewards. To pursue those things are my modest goals.
I really appreciate a truth about making music from a line in a song I once heard, “when you know a song you have a friend for life”