Karen Tweed’s Merrie Melodies Vol 1
May Monday Horizons Publishing
The time and effort producing this publication must have been immense. This is quite literally a work of art, a totally unique music book, a one off. I say music book but there are also lots of stories, poems and even recipes and a cocktail! The text, artwork and music notation has all been hand written by Karen demonstrating that her creative skills are not only confined to her accordion playing and composing.
I think it best for me to take you through the book and pick out certain items to give an overall flavour, although I have read through several times and keep discovering something that I hadn’t noticed previously.
The introduction is comprehensive with a light hearted touch that sets the tone for the rest of the book. The foreword is written by Dr Niall Keegan from the Irish World Academy of Music & Dance, University of Limerick and is very complimentary to Karen’s work, and rightly so. There is a brief guide on how to use the book including an explanation of the notation for the chord symbols. The tunes are written in the treble clef with the chord symbols below.
There is an accompanying CD with all 18 tunes included played by Karen on accordion ranging from jigs, reels, waltzes, mazurkas etc. It is always good to hear the composers own interpretation of the music.
The book is crammed with information on the background to the tunes, people, places, friends and situations that have arisen in Karen’s varied musical career and the many sketches throughout the book help greatly to visualise the sentiments.
For me, the best way to explain the music is to say that it is a fusion of various traditions, cultures and rhythms experienced by a travelling musician working in many idioms. It is difficult to pick out a favourite tune and I see no reason to, they all have something to offer, all very original, all very refreshing and shouldn’t be confined to just being played on accordion.
As I said earlier, this book is unique, and the best way to experience the talent of Karen Tweed is to buy it and enjoy it yourself.
Reviewed by Gordon Pattullo.
“Karen Tweed is one of the most creative characters to frolic round the fringes of traditional music, and one of the few to become a central figure in the evolution of more than one country’s tradition.” Alex Monaghan, The Living Tradition
“…that book of tunes is like an explosion of wild flowers in a concrete jungle or someone riding a unicycle against the traffic on a jammed up motorway… I love it and the tunes.” Colum Sands, musician
Midsummer May Monday
“Each piece is exquisitely arranged, a hallmark of May Monday music, and this pair pays homage to traditions from Stockholm to Spanish Point while putting their own unmistakable stamp on the music. Dip into this broad and deep pool of musical possibilities, and see what tickles your fancy.” Folkworld, Ireland
Essentially Invisible to the Eye
…since it arrived, I’ve been reluctant to listen to anything else… Tweed has cooked up something warming, comforting and sustaining… this is a dish to be enjoyed; clearly prepared with love, there’s enough to go round everyone. Pull up a chair and, as my gran would have said, fill your boots. ***** Oz Hardwick, R2
…Tweed also describes her solo work as ‘a casserole’ and she’s right… it has been cooking a long, long time, is rich with flavours from many ingredients and is served from one pot – her mighty 72-bass Pigini piano accordion. **** Julian May, Songlines
My name is Pavel Kotouček.
I am a physician in an NHS hospital in England, specialising in haematology.
This summer, I had the extraordinary privilege of participating in the first Orkney Accordion Course, held as part of the St Magnus Festival during Midsummer 2025.
I’d like to share my reflections on what was not only an exceptional musical experience but also a deeply meaningful personal journey.
In my practice, I actively promote the six pillars of The British Society of Lifestyle Medicine — approaches that support prevention and healing. To my surprise and joy, the festival turned out to embody some of these pillars in a profound way. It became a living expression of healing through music, community, emotional connection, and joy.
Alongside 11 other students, I took part in an intensive, high-level accordion course led by two of Britain’s finest accordionists — Karen Tweed and Karen Street. Over four days at the St Magnus Centre behind the cathedral, we worked intensively on new repertoire, shared our stories, and immersed ourselves in the process of music-making. It wasn’t easy. But healing rarely is.
The culmination of our efforts was a public concert at the iconic St Magnus Cathedral on Thursday, 26 June 2025. That morning, we rehearsed with focus and determination, and later gathered at the cathedral to test the acoustics of this magnificent and historic building. While waiting to perform at the west entrance, we shared stories from our lives — moments of vulnerability, resilience, and transformation.
Inspired by Orkney’s history and George Mackay Brown’s writings, I reflected deeply on the story of St Magnus, the Norse Saint — a figure of peace and moral courage. His choice to offer himself for exile or imprisonment rather than resort to violence in 1117 resonated deeply with my longing to see such peacemakers in today’s world — in the Middle East, and in countries bordering the Black Sea.
It is also helping in my own personal journey. That reflection led me to perform a solo piece Oblivion by Astor Piazzolla — a piece that echoed my internal struggles and healing.
Orkney is a unique place — both geographically and spiritually. It fosters a deep sense of community, reflection, and connection. I would wholeheartedly encourage anyone seeking personal growth, artistic inspiration, inner peace and self-forgiveness to attend the St Magnus Festival, celebrating its 50th anniversary in 2026. Come prepared to be surprised — and moved.
I am deeply grateful to Karen Tweed and Karen Street for their unwavering support, musical excellence, and dedication in guiding us — 12 students from across the globe, from California to Aberdeen, Isle of Skye and London — through a process that was not only about music, but about transformation. My gratitude goes also to Tony Compton, my own accordion teacher in England for his exceptional guidance.
Music heals. And in Orkney, it does so in a way that is truly unforgettable.
