Guido Deiro

81 Reviews from 1910-1940

Photo of Guido Deiro

Variety - December 10, 1910

Deiro - Accordeonist, 13 mins. One Fifth Ave

Deiro will have no trouble in holding his own amongst the several accordeon players now in the varieties. The man plays what seems to be a little different arrangement than the usual. It has a keyboard similar to that of a piano. His manipulation is interesting together with the playing. Deiro has shown rare judgment in his picking of selections. Instead of sticking to the heavys [sic] or the grand opera he opens with a solid number, devoting the rest of the time to "rag" with which he does a few gyrations a la Travato. It gets him more than all the "classical stuff" could. Placed "No. 4" on the program he drew down a solid hit that came from all parts of the house. -- Dash,

Guido Deiro Scrapbook No. 1, page 3.
Editor's note: Travato was a dramatic solo violinist.

Baltimore Courier - January 14, 1911

Deiro, a Musician Features at the Maryland

The best number on the bill at the Maryland this week is Deiro, a premier piano accordionist. The music that he gets out of this Italian instrument is beautiful, and he had the audiences yesterday afternoon and last night applauding him from the time he began his first selection until the very last. They were not even satisfied with this, for they wanted more, and the musician played until he was tired. He played not only some classics, but rendered ragtime and popular airs.

Variety - March 15, 1911

Held For Assault

San Francisco: Guido Deiro, an accordeon player, booked to open on the Orpheum Circuit, March 20, was arrested here last week on a charge of assaulting Rafaela Zatarain, a pretty Mexican girl of this city. Deiro came from New York a few weeks ago to purchase a new acordeon. Shortly after his arrival he was taken ill and removed to Hahneman Hospital. Upon leaving that institution he was immediately placed under arrest. Judge Shortall placed his bail at $3000.00. Deiro furnished bail. After a hearing lasting five hours Deiro was discharged by Judge Hall. He left for the East, to open at Wilkes-Barre next week.

Pittsburgh Post - May 11, 1911

Plays Unique Instrument.

Beyond question the most remarkable musician that Pittsburghers have listened to this season is Guido Deiro, the Italian maestro, who is giving his first performances in the vaudeville show at the Grand this week. Signor Deiro is playing what he is pleased to call a piano accordeon. It is a device of his own construction, combining not only the tonal qualities of the piano and the accordeon, but five distinct instruments; namely, the first violin, the flute, the cello, the bass and the piano accompaniment in addition to it's accordeon qualities. It looks like a huge, old fashioned glorified accordeon. With the right hand the musician plays the melody on a miniature piano keyboard and with the left the second part, a combination of instruments which sings the accompaniment. This part of the instrument, in it's construction, is a secret possessed only by Deiro and for fear of imitation he declines to describe the method of it's construction. In the hands of the master it is a wonderful instrument capable of playing the most involved symphonies and at the same time the simplest of harmonies.

News Clipping - ca. 1911


There's an unusual combination of acts on the Poli bill. As an applause getter Deiro with his accordion with a college education got away with the most applause. . . Deiro certainly won the audience at the opening performance. He plays an exaggerated accordion most acceptably and has a fine assortment of selections. Deiro's way of throwing himself into the music and playing with hands, eyes and feet adds finish to the act.

Guido Deiro Scrapbook No. 1, page 3

News Clipping - ca. 1911

DEIRO, Musical Genius at Lyric Theater.

One of the most unusual and pleasing acts in vaudeville this season is being presented at the Lyric this week by Deiro, an Italian musician who maneuvers a strange sort of accordeon, playing melodies all the way from Mozart to ragtime airs of the present, and playing them wonderfully well, too; so well that the audience keeps insisting on more until it would seem that his fingers would halt from exhaustion. No one would have believed that there could be so much music in a bellows decorated with stops.

Guido Deiro Scrapbook No. 1, page 3

News Clipping - ca. 1911, apparently from a city in the South


Orpheum Entertainer is Given Remarkable Ovation by His Hearers

The real hit with yesterday's audiences proved to be an Italian named Deiro, playing a piano accordeon. He received a remarkable ovation. He opened with the quartette from "Rigoletto," then swung into popular stuff, and, Heaven be praised, never once played "Poet and Peasant," thereby distinguishing himself from every other accordeon or xylophone player who has been here in the last twenty-one years.

He Makes Great Enthusiasm

He has an exquisite sense of time and of rhythm, and this fact, with an expressive smile and an exact knowledge of what his public wants, are the secrets of his unusual quality as an entertainer. He galvanized a lot of apathetic auditors into wakeful hilarity as soon as he came on, and when he played America's real nation anthem, "Dixie," the roof was raised several inches.

Guido Deiro Scrapbook No. 1, page 4

News Clipping - ca. 1911

Squeezes Harmonies Cleverly

A glorious surprise to many who regard the accordion as an instrument of torture held over from the Spanish inquisition and fandango was the spry playing on the "piano accordion" of one briefly named Deiro. From his abysmal oblong of pleats Mr. Diero [sic] squeezes harmonies that are, believe me, worthier of a better source. But never and notwithstanding, some strong stage manager ought to unpaint Mr. Deiro's satisfied face. It's all right for him to be satisfied, but in the good name of Madame Yale let his be satisfied in nature's hues. That complexion looks like an eruption of his native Vesuvius.

Guido Deiro Scrapbook No. 1, page 4

News Clipping - ca. 1911

Diero [sic] gives to the accordion the sonorousness of the organ and at the same time the exquisiteness and subtlences of the violin. He is a master of his instrument. The more select of his pieces are forgotten by Orpheum audiences when he swings into "Dill Pickles" and other syncopated roundelays. This sort sets the upper part of the house gleefully enthusiastic.

Guido Deiro Scrapbook No. 1, page 5

Des Moines News Clipping - ca. 1911


He Maintains His Native Country Has Many Undiscovered Artists.


Italian Has Gained Much Note With His Piano Accordeon.

Italy is the land of wasted genius. Also the land of undiscovered artists. Attest -- Guido Deiro, master of the piano accordeon. Orpheum theater, Des Moines, for one week.

Thus quoth he of the genial smile and daring eye, who is entertaining in admirable manner, last night just before he went on to renwer [sic] "Alexander's Ragtime Band" and various other "classics," and to set the audience to wondering just how he gets so much music out of that strange instrument, so melodious and yet so uncommon.

To illustrate, Guido Deiro was not long ago just one of the many street musicians in his home town, Torreon, Italy, although accounted the best among his fellows. But in those days he did not allow his mind to soar to the heights of even imagined glory or to the time when he would evoke cheer after cheer from the American audience. He was only a street musician at night, in the day one of the clerks in his father's mercantile establishment.

Now, as his card implies, he might be called the master of the piano accordeon; at least, he is in America. He has played from coast to coast and has the only act of its kind on the Orpheum circuit.

How He Broke Into Game.

But as to how he broke into the theatrical game. The story is not a long one.

On gaining his majority, Deiro became associated with a firm which manufactured musical instruments, chief among which were the piano accordeons. In the employ of this concern he traveled well over Europe -- so well that he learned to speak both the French and German languages -- demonstrating and selling his wares to such an advantage that he was sent to Seattle, Wash., two years ago to attend the Alaskan exposition. Then to San Francisco went he, to exploit his goods and incidentally to become acquainted with one of the Orpheum managers, who liked his playing. Then came the contract.

But at various times he has been seen at many other places, including the Majestic in Chicago and Hammerstein's in New York.

Deiro is a very modest chap, [indecipherable] his apparent inclination to fliet [sic] when [indecipherable] is rendering those popular airs of [indecipherable] But he does not like to blink and [indecipherable] not a bit. It is just one of the requirements of the stage. He admits it took him some time to learn the art of appearing the most cheerful person, but now it is sort of natural.

Played for Victrola Firm.

Among the other acknowledgments of his musical ability, is that accorded him by the Victoria company. Have you ever heard any of the records produced by him and his piano accordeon? Well, he is among the number of artists to have been solicited by the above mentioned firm, and alone in his particular line.

And by the size of the music box he uses so artistically one would not guess that it costs more than an ordinary piano. Deiro has three such instruments in his trunks and he estimates his wealth in this instance to be about $2,200. Two were made in San Francisco and one by the company in Italy, which he formerly represented.

But back to Italy. Deiro insists there are many of his fellow countrymen as good as he. All they lack is the chance to break into the world. He did not realize his greatness until it was thrust upon him. He maintains he did not achieve it.

Guido Deiro Scrapbook No. 1, page 5

News Clipping - May 16, 1911

Maybe you won't believe it, but 'tis a fact, that a clean-cut young fellow who plays a rather complicated accordion, made the biggest hit of the show at Shea's last night. Lots of fun has for years been poked at the humble accordion, but after one hears this lad Deiro at Shea's one has quite a bit of respect for the time-honored instrument, and it is really worth while to hear the young fellow play, ragtime and all.

Guido Deiro Scrapbook No. 1, page 5

News Clipping - ca. 1911


Deiro a Unique Feature of Good Vaudeville Bill at Maryland

Deiro does not occupy one of the big spacings on the Maryland Theater's billing this week, but Deiro is truly one of the features of the bill. Deiro is an accordionist, with a bump of humor and a large stock of grace. Sounds funny when graces and humor are coupled with a player of that much-abused instrument -- the friend of the beggar and the old negro -- the accordion, but when Deiro's deft fingers start across the keys of his instrument, the audience takes notice. A second later they are his, and, like Bill Simmons, they just can't keep still as he sways from opera to ragtime. Applause that lasted fully three minutes followed Deiro's last encore.

Guido Deiro Scrapbook No. 1, page 6

News Clipping - ca. 1911

With the exception of Diero, [sic] the "piano-accordion" player, who established himself as a favorite here last season, the remainder of the bill this week has only occasional fleeting flashes of merit. Diero, after one of his instruments failed him at a critical moment yesterday afternoon, quickly procured another form his dressing room, and scored a triumph even greater than that of last season. The "piano-accordion" combines the qualities of the two instruments named, and Diero not only knows how to get music from it, but he is enough of an actor to make the music count.

Guido Deiro Scrapbook No. 1, page 6

Hammerstein's Track - ca. 1912

Deiro was scratched last week. He started in again today, and set a pace that landed the Hammersteiners comfortably in their seats the moment he approached the grand-stand. "Deiro," they shouted, "Deiro," they screamed, and at the end he was placed in a floral horseshoe and carried around the track by his able, magnetic manager, Max Hart. Deiro has his hair marceled to the Queen's taste.

Guido Deiro Scrapbook No. 1, page 7

News Clipping - ca. 1912


Besides the One at Poli's This Week, He Also Hands His Work Down to Posterity

Deiro, the marvelous musician at Poli's this week, who handles that mysterious instrument, the piano-accordion, is making a record for himself both as a very creditable feature number of this week's bill at this playhouse as well as making "records" for the Columbia Phonograph company, by which the sweet strains of his delightful music may also be enjoyed forever.

Deiro, who studied a system of combining certain elements in a musical line to secure an instrument which would give forth the sweet strains to which delighted patrons have been listening this week, conceived the idea of the unique instrument while studying in Italy.

He worked on the affair which he now has perfected for years, until one day it was in such shape that it became an instrument of value. Flushed with the idea of presenting his work to the public, Deiro appeared in some obscure music halls and made an instantaneous hit. Patrons of the places were completely taken away with the delightful offerings and Deiro became the rage to such an extent that he was at once sought out for an American tour.

When Deiro arrived in this country he had to secure some one to make a new instrument and imparted the system to a man in San Francisco who has since made the instruments. Recently one of the instruments became out of order and Deiro had to make a special trip across the country to secure a new one. He lost two weeks' engagement by so doing but his faith in the western maker is such that he will impart the secret to no other.

Those who have enjoyed Deiro this week realize the musical treat the man imparts and those who haven't as yet heard him are missing a great bit treat.

Guido Deiro Scrapbook No. 1, page 7

Washington Post - April 2, 1912

Diero [sic] renders a number of selections excellently upon a "piano accordion," a novel instrument. His act was one of the big hits of the bill yesterday.

Guido Deiro Scrapbook No. 1, page 9

Washington Herald - April 2, 1912

Deiro, who is billed as the world's premier artist on the piano-accordeon, has a wide range of harmony, which got the applause.

Guido Deiro Scrapbook No. 1, page 9

Washington Times - April 2, 1912

Deiro, with a piano-accordion, furnishes an excellent repertoire ranging from the classical to ragtime, the latter, of course, getting the applause.

Guido Deiro Scrapbook No. 1, page 9

Trenton Evening Times - April 9, 1912

Notwithstanding all that has been said about accordion players who have appeared at the Trent during the past couple of years, there is a fellow on the bill this week who is the superior of them all. Deiro is an artist, and he displays his complete master of his instrument in the rendition of a program of classical and popular melodies.

Guido Deiro Scrapbook No. 1, page 9

Trenton True American - April 9, 1912

Of all the accordeon players the Trent has presented here Diero [sic] stands out at the head of them all. This chap shows a complete mastery of his instrument and was given encore after encore.

Guido Deiro Scrapbook No. 1, page 9

Buffalo Courier - April 16, 1912

The great hit of the bill was "Deiro," who plays upon an instrument known as the piano accordeon. The instrument is really a mammoth accordeon, with a keyboard like a piano. Its volume is immense, swelling to the proportions of a grand church organ; its melody is delightful. "Deiro" played all sorts of music, classical and popular. The sweet notes of the instrument are most agreeable to the ear. The player's command of the keyboard and stops is really wonderful. His encores were numerous and most enthusiastic.

Guido Deiro Scrapbook No. 1, page 9

Buffalo Evening Times - April 16, 1912

Deiro is a hit on the bill. He has a novel act, in which he performs on an instrument known as the piano-accordeon. The instrument is a mammoth accordeon with keys like a piano. The effect is that of organ music, with swelling diapasons. Deiro has a wonderful command of the keys.

Guido Deiro Scrapbook No. 1, page 9

Buffalo News - April 16, 1912

With an accordeon that swells at times to the volume of a church organ Deiro makes music of a sweet and expressive variety and his turn proves a great favorite.

Guido Deiro Scrapbook No. 1, page 9

Photo of Guido Deiro

Photograph courtesy of the International Frosini Society.

News Clipping - ca. June 1912

Deiro, the piano accordionist, is one of the biggest hits on the bill. This musical genius has a great way of bringing forth melody from his mammoth instrument, which in sound and tone is utterly unlike the strains usually heard from an accordion. However, Deiro does not use an accordion of ordinary proportions. His is an exceptionally large instrument, and known as a piano-accordion. It is the largest instrument of its kind ever introduced on any stage. Deiro wore a new white suit, cut in evening dress style. We presume he wears this for the evening performances only. It certainly is very becoming.

Guido Deiro Scrapbook No. 1, page 11

News Clipping - ca. June 1912

Deiro Improves on Act. -- Deiro, the Paderewski of the Barnum accordion, is up at the Bronx this week, and his performance shows so much improvement over his original appearance in this city that it is evident he is bent all the time on making his act more entertaining. He has succeeded so well in this effort that he now ranks among the real comedy musicians of vaudeville, while at the same time retaining the musicianly ability which first attracted favorable attention. Deiro is the best of his kind by a very long shot.

Guido Deiro Scrapbook No. 1, page 11

News Clipping - ca. 1912

Deiro wields a wonderful power when armed with the piano accordeon. He plays airs from grand operas, bits of love songs and swinging rag music, and with a skill that carries the mood of the audience with him.

Guido Deiro Scrapbook No. 1, page 12

News Clipping - ca. 1912

Deiro Says That In Italy Talent Hides Under Bushel

That Italy is a land of wasted genius and a land of undiscovered artists is the opinion of Guido Diero, [sic] master of the piano-accordeon at the Orpheum this week. Deiro not long ago was a street musician at Torreon. He made music at night and clerked in his father's store by day.

At the age of 21 Deiro became associated with a firm as an agent. Demonstrating his wares so well he was sent to the Alaskan exposition at Seattle in the company's interests. Then he went to San Francisco. There he signed an Orpheum contract. Deiro says many other Italians can play as well as he, but they lack the chance to break into the limelight.

Guido Deiro Scrapbook No. 1, page 13

News Clipping - ca. 1912

Diero [sic] Proves Himself a Genius by Producing Harmony With an Accordion

Diero [sic] is sufficiently talented to arouse delight with that most hopeless of all alleged musical instruments, the accordion. Any man who can hold his audience almost half an hour with an accordion has an ability that would produce results in a musical line.

Guido Deiro Scrapbook No. 1, page 13

News Clipping - ca. 1912

Deiro, with a mastery of the accordeon that is almost uncanny, and a smile that eclipses the footlights, successfully holds down the main spot in a good bill at the Orpheum this week. Deiro's instrument is a combination of a piano keyboard with an accordeon, and with it he can secure effects ranging from a plaintive lullaby to a brass band in full blast.

Guido Deiro Scrapbook No. 1, page 13

News Clipping - ca. 1912

That Warming, Vivid, Sunny Smile; Deiro and His Accordion Banish Care

By the Matinee Girl.

Smiles have made men famous. There's President Taft with his genial smile. An unmentionable prize fighter won much conspicuosity with his "golden smile." But there's a man at the Orpheum has them all beaten when it comes to smiles. It's Deiro with his magnetic, sunny, warming, vivid smile.

As I descended the stairs leading to the region where the actors don their make-up, the lilting music of "Moonlight Bay" came up to meet me. One corner of the orchestra room was brightly illuminated. Oh, no, it was not the electric lights that made it so bright. It was Deiro's smile. With the members of the orchestra grouped about him he stood with his chin uptilted, a happy smile on his face, playing "Moonlight Bay" on his accordion.

"Playing" is a very inadequate word to apply, too, to the rippling, lilting, dancing syncopation which which [sic] Deiro coaxes from his accordion. And "accordion" is a very inadequate word to describe his wonderful instrument, too. Those accordions are regular pets of Deiro's. When traveling he always reserves an entire section. The lower berth is for Deiro. In the upper the accordions are put to bed. He won't trust them to the baggage car.

"Moonlight Bay" broke off short and Deiro came out hugging the accordion under one arm, the other hand extended in greeting. Two things I was dying to know. Where did Deiro get that wonderful way of playing and where did he get that smile?

I ventured the first question. "Oh, I just picked it up," said Deiro. "I would rather play the accordion than eat. See, like this!" Out flashed the care-banishing smile. He whipped the accordion to his shoulder and I was being treated to a little concert all my own.

"And where," I said, when had finished, "did you get your smile?" Then Deiro smiled in earnest. He laughed heartily. "Oh, that," he said. "I was born with that. I smile when I feel the music. It makes me glad."

So now when your feet are twitching to the music of Deiro's accordion and you feel the warming happiness of his smile you will know that he is "feeling the music" and that he is glad.

Guido Deiro Scrapbook No. 1, page 14

News Clipping - ca. 1912


Deiro, the accordeon player, scores one of the biggest hits of the show. He is certainly a master of this queer instrument.

Guido Deiro Scrapbook No. 1, page 14

Springfield Union - January 7, 1913

Diero, [sic] who is billed as the headliner, certainly had the audience with him. He has invented what he terms a piano-accordion, which is unique and novel as an instrument, something in the nature of a mammoth accordion with a piano keyboard. Naturally Diero [sic] is an expert manipulator of the instrument. He is versatile and talented and his selections range from the operatic to the most popular ragtime ditties. The audience was generous of applause and the good-natured mannerisms of the soloist added to the popularity of the act.

Guido Deiro Scrapbook No. 1, page 15

News Clipping - ca. 1913

Deiro is advancing. With his piano accordion he gave us real good music last night. He played Mozart and Puccini and his own compositions and played them all well. He has fire and feeling and tempo, and, in short, he's an artist. His bits of "rag" and lively dashes were very welcome after the heavier numbers and showed his versatility.

His left hand work was really wonderful, for he has a keyboard like a piano for the right hand and his left must find those tiny pegs and manipulate the bellows of the accordion at the same time.

Guido Deiro Scrapbook No. 1, page 17

Tribune-Republican - April 29, 1913

Diero [sic] won an ovation after each number on the piano accordeon, the strange musical instrument which he originated. He was kept out in front until he grew finger weary from manipulating the keys. Diero is one of the best stars of vaudeville, and his hit at the opening performance was tremendous.

Guido Deiro Scrapbook No. 1, page 22

The Scranton Times - April 29, 1913

Diero [sic] was an even bigger success than in a previous season. His playing of the piano accordeon won him tumultuous applause after each number. Along with being a skilled player on the peculiar instrument, Diero also has a strong personality which helps him out much.

Guido Deiro Scrapbook No. 1, page 22

Variety - July 11, 1913

Instrumental 8 mins. Hammerstein's

Isn't it strange how one's individuality can be sunk when merged into a double turn? There's Deiro, regarded as the greatest of all piano accordionists shown around here. He doubles up with his brother Pietro, and all his personal magnetism is lost and his playing seems to partake very much of mechanics. The only effect of the two playing at the same time was to increase the volume, not at all necessary. The men emerged in white flannels and seated themselves, first placing towels on their laps to protect their clothing. This in itself was enough to call attention to the machinery of their act. They started off with a classical number, then an old Sousa March, stood up and rendered one popular melody, retiring without trying for an encore. Deiro appeared to be weary. He didn't seem to be trying Monday night. "Jolo."

Billboard - October, 11 1913

Deiro is the master of the piano accordion. He plays several classical and ragtime numbers and is the recipient of hearty appreciation. Deiro is practically the first one in this particular line. He has several imitators but none compare with this sterling musician. His appearance and personality aid greatly in making him a pronounced success.

Billboard - October, 25 1913

Deiro 6th on a program of 9. 1st after intermission. Deiro took a lot of time and scored heavily with his accordion specialty. He makes a fine appearance, works in a straightforward fashion and proves himself an artist in every essential. He copped a substantial hit.

News Clipping - ca. October 1913

It does not require many descriptive adjectives to tell about the bill opening at the Colonial tomorrow matinee. . . Deiro, the world's greatest piano-accordionist, will be the headline act for the week. Just how good a musician Deiro is needs not be asked. The very fact that he is the undisputed king of this difficult musical instrument, and a showman in every sense of the word, has stamped him as a favorite throughout this country and Europe. Some may confuse Deiro with Peitro, [sic] and for their information, it might be said these two splendid accordionists are brothers, Deiro being the elder of the two. Peitro has appeared here on two different occasions and won much favor. Deiro is new to Richmond, and will gain even greater favor than his brother.

Guido Deiro Scrapbook No. 1, page 23

News Clipping - ca. October 1913

Hear This Man Play!

Headlining the Colonial's bill this week and topping the rest of it by a mile or so, is a long-haired, white-flanneled genius named Deiro -- Monsieur, Signor, Senor, Herr, or just plain Mister -- who comes out on a bare stage, sits down in the middle of a spotlight, and, with a big accordion that has an abbreviated keyboard, makes a noise like a piano, an organ, and a full orchestra of wood-wind, strings, brass and drums. And this "noise" is real music, not just vaudeville music, but regular music.

He plays trills, runs, cadenzas, and even glissando effects -- high-brow for running the fingers quickly over the white keys -- as if he were seated at a big Mason-Steinway, and accomplishes a swell and diminuendo that one has a right to expect only from an organ pumped either electrically of Africanly.

He is also very much of an actor-man, with a pose for every chord and a wriggle for every reed, but, even after he has managed to shake his hair down over his face, he remains a raving genius with his piano-accordion.

Guido Deiro Scrapbook No. 1, page 24

News Clipping - ca. 1913


Guido Deiro, the temperamental Italian with his piano-accordeon, and his winning smile, is making away with the lion's share of the applause at Keith's this week. Deiro is an Italian, who has been in America just four years, but he has a splendid musical education and technique plus talent and personality. Deiro is the master of the accordeon. He cuddles it in his playful Italian fingers -- a dynamo of happiness -- a radiator of music. He makes it purr softly -- he makes it peal forth at a bugle calling to battle, he -- well you should hear him to understand.

Guido Deiro Scrapbook No. 1, page 30

News Clipping - ca. 1913


At each performance at the Colonial Theatre this week the great popularity of Deiro, the world famous accordonist, [sic] increases. He made a big hit on the opening night and is forced to yield numerous encores at each performance. His selections run from operatic medleys to the most recent rag or hesitation compositions.

Deiro is chock full of temperament and sometimes can scarcely refrain from doing a little singing and occasionally his feet will not keep still but insist on moving to the melody. A great many people who have enjoyed his playing through the medium of Victrola records are availing themselves of the chance to see him and enjoy his performance during his stay in Erie.

Guido Deiro Scrapbook No. 1, page 30

Columbus Ledger- March 19, 1914

Deiro, the young Italian at Keith's this week, is the inventor of the particular style of piano-accordion he is playing. It is manufactured in San Francisco, he says, from a plan he drew while still in Rome. He says that the instrument covers five octaves and has twice the tone compass of a piano. He expects to retire from the stage as soon as he makes enough money to finance a plant for the manufacture of his invention- and incidentally to get married. And to guess whom? To Mae West. Remember the short haired comedienne who appeared at Keith's the week Eva Tanguay was performing at the Southern? If memory serve, Miss West introduced Deiro, who was visiting here that week, as her fianceť, "Count Guido," Guido being his first name. It is refreshing to find that "he ain't no such animal."

He was the most popular act at Keith's this week.

Editor's Note: This is the first recorded mention of Guido's nobility.

Columbus Journal- March 20, 1914

"Love laughs at locksmiths" and Cupid takes long chances, even in vaudeville, but Deiro, the accordeon player now at Keith's, put him through very hard paces yesterday. Deiro braved the wrath of those who might oppose him and secretly skipped off to Cincinnati Thursday morning in order to see his fianceť, Mae West, who is playing at the Keith house in that city. He left at 1:05 a.m. and got back at 3:10 p.m., just in the nick of time to go on for his last act.... He played his accordeon as he had never played it before, for he had the inspiration.

San Antonio Light- September 8, 1914

The brass predominates in a march-time introduced by the Majestic orchestra, then softens down to almost nothing, and into the spotlight bursts Deiro, king of the accordeonists with his magnificent piano-accordeon. Without a pause, his fingers start their nimble skipping up and down the dual keyboards, and out to the audience float the strains of ages old masterpieces and the most modern of rags and ballads. At will Deiro, expressing the mood of the moment, commands the best music of the world and plays it as a master for his auditors. Temperamental, talented, he loses himself in his own melodies, becomes oblivious to his audience, one sees him apparently straining his hearing in an effort to hear the answering echo to his wonderful music; then with a laugh he comes back to earth and it is then that a stirring march bursts forth. He is a remarkable man, this Italian, and a real entertainer; witness the long continued applause at the conclusion of each number. Deiro is not alone in the honor column, however; six other acts share it with him including Mae West, the "Eva Tanguay" of Vaudeville.

News Clipping - San Diego, ca. 1914-16


Man Who Earns Thousands By Making Phonograph Records Appears at Theatre

Deiro, who is said to be the worlds' greatest piano-accordionist, is the headline attractions [sic] on the new Hippodrome vaudeville bill which began yesterday with three performances. Deiro is said to make $100,000 a year for making records for one of the largest phonograph companies. His program ranged from classical to popular music. The San Diego house is the only Hippodrome Theatre at which he will play, having come here direct from San Francisco, where he finished his Orpheum engagement.

Guido Deiro Scrapbook No. 1, page 33

News Clipping - ca. 1914


At the Majestic

The brass predominates in a march-time introduction by the Majestic orchestra, then softens down to almost nothing, and into the spotlight bursts Diero, king of accordeonists with his magnificent piano-accordeon. Without pause, his fingers start their nimble skipping up and down the double keyboards, and out to the audience float the strains of ages -- old masterpieces and the most modern of rags and ballads. At will Diero, expressing the mood of the moment, commands the best music of the world and plays it as a master for his auditors.

Temperamental, talented, he loses himself in his own melodies, becomes oblivious of his audience; one sees him apparently straining his hearing in an effort to hear the answering echo to his wonderful music; then with a laugh he comes back to earth, and it is then that a stirring march bursts forth. He's a remarkable man, this Italian, a d real entertainer; witness the long continued applause at the conclusion of each number.

Guido Deiro Scrapbook No. 1, page 34

News Clipping - ca. July 1916


Careless folks who didn't glance at their programs at the Hippodrome last night did not know that the young man with the winning smile and the wonderful ability to sway the spirit of his audience with accordion music ranging form classics of dazzling technique to the compelling syncopations of popular selections, was Guido Deiro, acknowledged to be the world master of this odd musical instrument.

The audience wrung encore after encore from Deiro, with an enthusiasm that is seldom seen in a vaudeville house. This is a tribute to the public, for it shows that it recognizes ability, even though sometimes accused of "looking first at the label."

Deiro's engagement at the Hip, which is for a week, is by way of an introduction in San Diego. His primary purpose in coming here is to present a series of muscales at the exposition, at which time he is to explain some of the mysteries of the inner mechanism of the piano-accordion. The instrument is one of complicated construction, and the story of the evolution of the old three-stop wheeze box to the modern melody maker, the best of which cost more than a piano of popular make, is an interesting one.

Deiro, when 15 years old, saw his first piano. He was living in Italy and saw the piano when at a party to a rich man's house. It was then he evolved the idea of applying the keyboard principle to his favorite instrument, and ever since has been working on modifications that have brought the piano-accordion to its recognition as an instrument worthy of serious recognition in the musical world.

"Everywhere -- at dance halls and in orchestras -- the accordion is being used in the east," declared Deiro today, in predicting that the instrument is to soon gain great popularity.

Guido Deiro Scrapbook No. 1, page 41

San Diego Union - July 10, 1916

It was a big day at the Exposition. The crowd was one of the best of the year and was estimated at better than 8,000. . . . Guido Deiro, piano accordionist, was one of the hits of the day. Deiro gave a half-hour concert of classical numbers, without even a ragtime selection as an encore. So insistent was the crowd that Deiro had one of the hardest afternoons of his career, and when he concluded the warmth of the afternoon and his exertions had given him the appearance of a man who had taken a shower bath fully clothed.

Guido Deiro Scrapbook No. 1, page 36

News Clipping - San Diego, July 12, 1916

San Diego, Cal., July 12

Diero, the accordionist, put another notch to his record here when he captured the gold medal and certificate offered by the Exposition officials for the winner of the musical contest. Diero grabbing the prize with a Guerrini accordion (manufactured in San Francicso).

A crowd of 8,000 people witnessed the contest, and the decision was a popular one.

Guido Deiro Scrapbook No. 1, page 43

News Clipping - ca. 1916-17

Deiro is the world's Greatest Piano Accordionist having won the gold medal at the San Diego exposition. He is a brother of Pietro, but far ahead of this well known artist.

Guido Deiro Scrapbook No. 1, page 45

News Clipping - San Antonio, Texas, ca. 1916-17

Deiro Tops Majestic Bill

For weeks and weeks San Antonians had been waiting for him. Each successive time they saw his name in the advance notices the pleasure of anticipation grew keener. When, finally, he stepped out modestly before the footlights Wednesday night, the theater patrons were happy; and, desiring to remain in that state indefinitely, they forced him to encroach upon the time allotted to the succeeding act.

Deiro is a great musician. He is more that that. He is a transformer of popular ideas. Once the accordeon was the instrument of the proletariat, and to confess a liking for accordeon music was to betray exceedingly bad taste. Accordeon players were discredited; why, they might even be second-story workers in disguise! What a change Deiro has wrought! He has made the accordeon one of the most musical of instruments; one who can play it well is accepted as an artist, and there is no better evidence of discriminating taste than appreciation of such music as Deiro's.

Deiro easily tops the Majestic Theater's new bill, if one may judge by the applause accorded him at Wednesday night's performance. With inimitable verve he plays selections that make a universal appeal, and puts his equally inimitable personality into each piece. Whether playing Hawaiian airs or classical music, he gives an individualistic but thoroughly correct interpretation. One of his most notable feats is to shift suddenly from a soulful, pathetic theme to a carefree, frivolous, saucy one, thus causing a swift but not unpleasant change in the emotions of his hearers. A wonderful effect was produced at Wednesday night's performance when he broke off in the midst of one of the most pathetic passages from "Madam Butterfly" and launched precipitately into the catchy chorus of "Pretty Baby."

Guido Deiro Scrapbook No. 1, page 46

Variety- January 19, 1917

Deiro's Going to Sue

Deiro, the accordeonist, has instructed his attorney to commence a suit asking $25,000.00 damages against the Victor Talking Machine Company, for the publication of a letter, printed in an advertisement placed in VARIETY by his brother, Pietro, in which the Victor people said they had engaged Pietro to make records for them when they compared his test records with those made by Deiro, claiming the Deiro records were not accurate. Deiro claims to have sufficient proof to offset this statement and will seek damages on the grounds his reputation has been injured.

While traveling through Minnesota last month Deiro placed his two musical instruments, valued at $1,000 in an upper berth of a Pullman car and during the night the steam radiator ruined the accordions. Deiro was forced to cancel four weeks of the Orpheum time to journey to San Francisco and have the Guerinni Co. repair the instruments.

Toledo Blade- March 29, 1917

Guido Deiro, Italian musician, at Keith's, has received a new piano-accordion. Guerrini, the maker, just sent him a new $900 "box", which is a massive affair weighing 30 pounds. The two piano-accordions that Deiro carries with him are worth $1,600. By a peculiar twist of fate, Deiro was intended by his parents for law, but after completing three-quarters of his courses he decided to become a musician. So he left for Germany and spent seven years studying.

Variety Full-page advertisement placed by Guido Diero - ca. 1917


Notice: Mr. Guido Deiro. The First Original Master of the Piano-Accordion who first appeared in our factory in San Francisco 1910, created a sensation among the players at that time, also being the first that ever appeared on the big time circuits as a single piano-accordion player.

We have the honor to appoint him our agent for the United States and Canada. -- GUERRINI COMPANY, 279 Columbus Ave., San Francisco

The Original Master of the Piano-Accordion. Received diploma of gold medal at the San Diego Exposition. Using Guerrini Latest Piano-Accordion. Booked solid from August 28, 1916, until May 15, 1917. Orpheum and Keith Circuits. Direction MAX HART, Palace Theatre Bldg., New York. I could say more, but what's the use.

Playing Exclusively for Columbia Phonograph for the [text missing].

During an interview with Mr. Camicia of the San Francisco Chronicle, three weeks ago, he desired to know why I did not play for the Victor Talking Machine.

When I was playing Keith's, Philadelphia, in 1911, the Victor agent requested a demonstration. Three weeks later I received a letter while playing the Grand, Pittsburgh. The Victor people wanted to know when I was going to return to Philadelphia, and the same time requested my price for making records. The figure I quoted was not approved of by them, they claiming my work was not worth the salary asked. Two years later another letter was received at the Temple, Detroit, again asking for my services. It was impossible for me to return, as I was previously booked over the Orpheum time.

When I played at the Palace about three years ago the Victor agent twice appeared around the stage door and begged me to come to some understanding with the company. But again I was forced to decline the offer, having entered into a contract with the Columbia Phonograph for five years, only two weeks before.

My brother, Mr. Pietro, was present and overheard the conversation, asking me the reason for not accepting the proposition; I told him the reason, at the same time telling him to fulfill it in my place.

THIS STATEMENT IS ABSOLUTELY TRUE, AND CAN BE PROVEN SO. Now, Mr. Camicia, the above will probably be sufficient to make you understand why I am not playing for Victor.

Deiro scrapbook No. 1, page 42.

News Clipping - ca. 1917-18

Deiro and Clara Stop the Show at Empress

Vociferous applause bestowed upon two of the jewels of this week's show at the Empress last night twice stopped the show. Clara Morton and Deiro divided the unusual honors of having completely upset the schedule by receiving an over-abundance of encores.

Clara Morton, cleverest, as well as the plumpest member of the talented Morton family, is a rollicking creature whose gaiety is contagious and who is in the constant good graces of her auditors from the initial bow. She is a dainty miss despite her generous burden and she waltzes about the stage with pep and joy. Miss Morton has a whole bunch of catchy new songs, but last night's audience completely exhausted her list before they quit applauding.

If there was any difference in the plaudits handed out to these two chief stars, Deiro beat miss Morton in a close finish. This capable piano-accordionist is a brother of Pietro, who has scored several triumphs at the Empress. Deiro has a far more pleasing personality than his younger brother and he puts fully as much ginger and talent into his playing. When Deiro switched from high-brow stuff to a medley of ragtime airs the folks went completely mad. "I May Be Gone for a Long, Long Time," "Joan of Arc, " "When the Rain Falls," and all of the rest of the recent favorites are included in his conglomeration of popularity. In the future Deiro is assured of being as much of a drawing card at the Empress as Pietro, for first nighters refused absolutely to let him quit until he'd gone through the entire bunch, despite apparent fatigue.

Guido Deiro Scrapbook No. 1, page 52

News Clipping - ca. 1917-18

There are many other things worth especial mention on the bill at Chases's this week. Perhaps you thought nobody could pull real music out of an accordion. I admit that I did until I heard Diero [sic] this week. I belonged to the anti-accordionists, but he converted me just as he has converted large audiences that have piled into Chase's this week. He played classical selections for a while; then he branched off, and before the audiences would allow him to retire he was playing ragtime in the most approved way -- ragtime that set everybody's feet to going, and if they had kept the spotlight on him, I believe Diero would be playing yet. He seems to like to play, and certainly [indecipherable] is that Washington audiences like [indecipherable].

Guido Deiro Scrapbook No. 1, page 55

Grand Rapids Press - ca. 1917-18

Deiro, the celebrated piano accordionist, shares first place honors with he headline feature. This accordionist who was awarded the diploma of gold medal at the San Diego exposition is even better in some respects than Pietro, who is a local favorite. He catches the favor of the audience with his fascinating rhythm and the musical quality of his playing.

Guido Deiro Scrapbook No. 1, page 56

News Clipping - ca. 1918


(Special to The Standard Union.)

CAMP GORDON, Sept. 28. -- Guido Deiro, an accordionist, and a member of Company E, of the Fourth Replacement Regiment, would have a place in "Who's Who at Camp Gordon" if such a volume or such a record was published.

Deiro is from Brooklyn. [Not true - webmaster.] In his working clothes, which, by the way, are the same as his Sunday duds, he looks like any other buck private; walks like one, acts like one, talks like one. But there is a real story behind this Brooklynite.

In 1909 the soldier-artist was playing at a theatre in Strassburg. At the close of his concert, after most of the persons in the audience had left the theatre, he was approached by an old Alsatian couple who asked him to play the "Marseillaise." [sic] He complied with their request, with the result that he was immediately thrown into prison. Upon his release at a later date, he was given two hours to leave the city. When he reached Metz he was again taken into custody, and his troubles did not end until some time later. As a result of such proceedings, Private Guido Deiro, American army, has an old score to settle with the Huns when he reaches the war zone.

Guido Deiro Scrapbook No. 2, page 12

News Clipping - ca. 1920


"Deiro," the wonderful piano accordeon artist, who has attracted so much favorable comment and obtained much merited applause at the Orpheum this week, was the guest of the Columbia Gramophone Dealers association, at a dinner at the St. Charles hotel yesterday noon.

The association meets all the artists who sing or play for the Columbia, when they come to this city either on recital or to some of the local theatres. The intention of the members of the association is to make the artists feel perfectly "at home," when visiting here and to extend to them the greeting of real good fellowship and welcome. . .

A most enjoyable time was spent in company of the famous accordeon virtuoso who proved himself not only an artist on the vaudeville stage, but also a first class "jolly good fellow" and social entertainer. Deiro has spent ten years in the United States. He was a reservist in the Italian army and during the ward served overseas as interpreter. Deiro comes from an old fighting stock, as his grandfather took part in the Garibaldi campaigns and his father fought with the Italian armies against Menelick in the Abyssinian war. He was born in Torino, in Northern Italy.

Deiro does not select the pieces he plays for the Columbia Grafonola [sic] company, his program is arranged for him. ON the vaudeville stage he, of course, changes his own program to suit the taste of the audience he has to face. He is, as all true musicians are, a true lover of the classics, but has to perform a great deal of the lighter music, even rag time to satisfy the people who attend the [indecipherable].

Deiro explained in the course of the conversation or chat, which followed the dinner, that he was in a position to leave the vaudeville stage any time and devote all his time to making records for the Columbia, as this would provide him with a very handsome income without any annoyances or trouble.

The association, in all its dealings with the artists, explains the real benefit to them of having their playing or singing recorded. The association is as important to them as their own respective managers.

Guido Deiro Scrapbook No. 1, page 67

News Clipping - Detroit, ca. 1921-1922


Accordion Artist Sends Tunes Through the Air. Guido Deiro Performs Before News Radio Audience: Gets Worst Stage Fright.

Guido Deiro, one of the country's greatest piano accordionists and a star at the Shubert-Detroit theater this week, gave radio enthusiasts a rare treat Friday night when he headed the regular evening concert of The News broadcasting station. Deiro is a brother of Pietro Deiro, himself a famous accordionist.

Great artist, though he undoubtedly is, Mr. Deiro declared that his invisible audience had given him the worst case of stage fright he ever suffered. When he finished his third number, he grinned and said: "I'd sooner play to 15,000 people in a theater than before that thing." And he indicated the mouth of the telephone receiver in front of him. Had he not admitted his temporary embarrassment, however, no one would have known it, for he played with his customary skill and artistry.

Guido Deiro Scrapbook No. 1, page 65

News Clipping - ca. 1922

Guido Deiro, the best of public performers on the accordeon, is on the bill. Deiro has devoted years to acquiring mastery of the piano keyboard instrument, and the range of compositions he plays, together with his magical deftness rank him as an undeniable virtuoso. He can play the accordeon like a house afire.

Guido Deiro Scrapbook No. 1, page 59

News Clipping - ca. 1923


By Leanore Oullahan

Climate and courtesy. Those are the things about California that most appeal to Deiro, accordionist, who Wednesday opened a four-day engagement at the State Theater. In him Californians Inc. has a loyal booster, though he only came to America from Italy fourteen years ago.

"Give me California in July to New York in May," he exclaimed as we talked together off stage at the conclusion of his orchestra rehearsal. "My home? San Francisco." Then he laughed. "It's really in a Cadillac coupe anywhere along the road. I stop long enough to sleep. . . Left Fresno at six this morning, making the trip here in three hours. No, didn't get into any rain. . . Played hide-and-seek with a train almost all the way. Every so often thought I had lost it for good, then it would turn up again. . . Regret I didn't get to wave good-bye to the engineer. . . You know when I'm riding along these highways with vineyards on either side of me I think if I were on Fifth avenue there would be four machines on each side of me."

"Motoring my hobby? Yes it is. Along with fishing and hunting -- always have my outfits along with me. Two months every year I spend at my cabin on Mt. Jefferson, wit [sic] two old fellows for companions. At night we gather about the camp fire and I play for them. That's what I enjoy after all this." His hand swept out to include all the discomforts the professional must put up with.

Deiro is a typical Latin. His genuine smile wreathes flashing white teeth, his hair is brown and softly waved. There's a warm friendliness of manner and a child's whole-souled enthusiasm for music, nature and life. Ruby Lang, well-known musical comedy star, is his wife. They have been married three years.

The accordionist continued: "California is where one finds real friends and where one may enjoy the simple life when tired of the complexities. And here is the courtesy -- in the East it's too commercial -- it's money, money, money," he emphasized.

"You heard me on the Orpheum? Yes, I played it twelve out of fourteen times. Went on the first year I reached America. . . Also Keith's . . . Yes, the Granada in San Francisco. When do I intend to give up the profession? In about two years."

Deiro neglected to say just what he intends to do then. And I do ask. But we'll presume he'll go hunting -- or fishing.

Guido Deiro Scrapbook No. 2, page 11

News Clipping - November 20, 1923

Colonial Show This Week Stopped Three Times By Heavy Applause.

"Stopping the show" is vaudeville parlez. It means that the particular act is a riot; a scream; a grand and glorious success. Three times last night the course of the bill was halted because an audience refused to part with three particular numbers. It's a great show over there this week. It's more classic than the usual run; in fact, it's a better show than they've had this season. Each week this statement is issued. It's always "better than the week before." It's a fact. Here's a whole bill that's a knockout. . .

"Deiro," the greatest accordionist on the stage, is there. This maestro of hand music is an artist. You see and hear him and then you know that every other accordionist in vaudeville or elsewhere imitates "Deiro." We've had "Pietro" here and the folks liked him. But the only comparison or connection of Pietro and "Deiro" is that they are related by blood. There's nobody even on a part with "Deiro." They stamped, applauded, whistled, cheered for him last night and the most sincere note of thanks was struck by the artist when he came out for a seventh curtain and encore. He could only say "God Bless You!" He's a creator when it comes to music. His interpretation of the popular and classical is the most reliable originality conceivable. Last night the audience recognized a master in his art.

Guido Deiro Scrapbook No. 1, page 58

News Clipping - ca. 1923

DEIRO, Most Famous Accordionist, Is Enjoying Long Beach While Filling His Engagement at State.

Deiro, piano-accordionist, likes Long Beach. This is his first visit and he is luxuriating in the surf and drinking in the "mar-r-r-velous" weather in numerous drives. Signora Deiro drives, for a clause in Deiro's $20,000 hand insurance policy forbids his taking risks. Mrs. Deiro, former operatic prima donna, retired since her marriage, loves driving.

State theater secured the services of Signor Deiro because he is resting before taking up his fall contracts over big time. Deiro has played to American audiences for the past twelve years -- and is heard in thousands of homes via a very popular make of phonograph for which he has made more records than any other artist.

Deiro it was who gave the piano-accordion its volume, and made it possible to play in large houses. He carries three specially made instruments and guards them carefully, for they have brought him many adventures, he says. Because of art he speaks five languages. And that is how he happened to occupy a confidential post as interpreter during the American participation in the World War. He has also soldiered abroad, and he has played in the principal cities. His instrument knows every language, he says, and proves it in his offering during which he plays magnificently Italian and Spanish selections, and gives rendition of "Mr. Gallagher and Mr. Shean."

The improved piano-accordion which Deiro brought from Italy was first made in Seattle, and is now handled on a big scale by Guerrini of San Francisco.

Guido Deiro Scrapbook No. 1, page 63

News Clipping - ca. mid-1920s


Guido Deiro . . . yesterday afternoon furnished those who gathered at the Opal theatre with a most delightful and artistic program. . . Deiro, who many acknowledged, was the sole attraction which brought them to the concert. . . Deiro proved to be very liberal with his music, but even then his hearers were loathe to let him leave the stage. From the sonorous Tancredi Overture, he turned to the soft appealing Humoresque. Then his own Valse Brilliante revealed him as composer of real ability. Puccini's "Boheme," then another of his own compositions "Lolo," was followed by Drigo's Serenade, which the accordion alone can interpret at its best and which was never before rendered in such masterly manner.

Two encore numbers were played by Deiro, and one of the secrets of his success is revealed by the fact that he appeared to enjoy the entertainment just as much as did his audience.

Guido Deiro Scrapbook No. 1, page 66

News Clipping - ca. mid-1920s


Is it hard work to play an accordion? To watch Deiro on the stage one might think not, but to see him after his act at the Majestic to be more or less exhausted from his efforts is to wonder -- Deiro says "Yes." And to know that it takes 150 pounds of constant pressure to manipulate what is known to be one of the most difficult instruemnts to play -- the piano accordion -- is to be convinced -- and the unusual muscular development of Deiro's arms is further proof.

Guido Deiro Scrapbook No. 1, page 76

Santa Rosa Republican - ca. 1925


Tomorrow night at 8:30 o'clock at the Leppo-Churchman hall, Santa Rosans will have an opportunity of hearing Guido Deiro, world's greatest piano-accordionist, in concert recital and dance to the strains of music furnished by Deiro's Continental Jazz Band.

Guido Deiro is the oldest and most famous of the noted Deiro Brothers and comes to Santa Rosa for this single appearance during a short sojourn form the Orpheum circuit. His last appearance at the Palace theatre in New York City is reported to have been one of his most successful and he [indecipherable] said to be in better condition than ever before. Deiro has recorded more than fifty selections for the phonograph since his entry into this country from his native Italy. His dance band is composed of seven New York music masters, whose ability to provide dancable [sic] music is well known.

Guido Deiro Scrapbook No. 2, page 10

News Clipping - August, 1927

Deiro Center of Interest At Accordion Club

SAN FRANCISCO, Aug. 25 -- More than 8000 people, with Deiro the center of interest, attended the annual Accordion club picnic Aug. 21 at Fairfax Park. Deiro lead a parade of several hundred automobiles, with police escort, and an accordion band of 250 members, all graduates of the accordion school.

Deiro was the most popular Italian in all San Francisco this day. As master of ceremonies, he proved to be the biggest hit of the show and kept the crowds in a merry mood. A motion picture of the principal events was taken and will be kept by the club as a reminder of the very successful picnic.

Deiro has made the accordion an extremely popular instrument and he is one of the real big box-office musical draws.

Guido Deiro Scrapbook No. 2, page 18

News Clipping - August, 1927

The Accordion

Altho [sic] the accordion has been rated by some critics as among the lowest order of musical instruments, its far-reaching popularity is attested by advices from the West Coast relating that the recent annual outing of the Accordion Club at Fairfax Park in San Francisco was attended by more than 8,000.

Deiro, the Italian wizard of the accordion, was the center of interest, and another feature of the event was an accordion band of 250 members.

The accordion never has received the recognition it merits. Because of the comparatively little science and skill involved in turning out its music, the instrument has come to be regarded as an ordinary contraption. And yet seldom has an accordionist, with any ability at all, ever failed to stop the show more or less.

The accordion has a soul the same as a violin, but only a very few of the professional artists in this country are able to find that soul. Those who come anywhere near it are able to provide a class of musical enjoyment with an appeal that is as wide as the movies.

Guido Deiro Scrapbook No. 2, page 21

News Clipping - Sydney, Australia: 1928



Deiro, a Williamson Tivoli vaudeville attraction, presented a remarkable musical turn with his melo accordeon. The instrument, which looks like a miniature piano, was strapped across his chest, and Deiro extracted from it melody that had all the resonance of an organ at times. Chiming bells ringing out in a carillon of joy, or dying away in the distance, were simulated perfectly, and "Ramona" and "Ain't She Sweet" were given with the effect of an orchestra. The player was recalled several times for his fine work and each time he had some fresh novelty to offer.

Guido Deiro Scrapbook No. 2, page 25

News Clipping - Eureka, California, February 23, 1929


Just before sailing for Australia, last summer, Guido Deiro, world famous accordianist, [sic] played a farewell engagement in Eureka at the State Theater. Whether the reception and sendoff that the artist received from Eurekans was in any way responsible for the success that accompanied his Australian tour, is difficult to determine.

At any rate, Deiro has again chosen Eureka as the city to be honored with his farewell appearance before he leaves for a season in Europe. Deiro opened a three day engagement at the State Theater last night. In the last show, incidentally, before that house is closed for installation of the new Photophone.

From here Deiro will proceed directly to New York, via his home in San Francisco, sailing on the Leviathan in order to reach England by April 1. He will open his European season in Glasgow after which he is booked for lengthy appearance in London. His contract calls for bookings in England, Ireland, Scotland, France, Italy and Spain. He will spend considerable time along the Riviera. He expects to be gone a year.

But it was not a search for a goodluck token that brought Deiro to Humboldt, he stated today. Rather he said, it is because he loves the northern California country, with its rugged coast, invigorating climate and giant trees. The artist has a great many friends living in Eureka and Humboldt county, many of whom he knew in Italy and others in San Francisco.

Speaking of his trip to the Antipodes, Deiro described it as a great success. He said that he met with a wonderful reception in Australia, New Zealand and various insular groups in the itinerary, including Pago-Pago, Samoa, the Fiji group, and Hawaii. He said that the Antipodes, however, demand a different type of music than America, showing a marked preference for the classics and popular music with a classic trend, rather than for jazz.

Outside the theatre, Deiro had a number of interesting experiences on his tour, including a shark fishing expedition out of Brisbane, and a trip into the interior of the Fiji islands. The natives of the latter place, he stated, were frightened when he produced his accordion and played for them. He said the majority of these natives are living in the same circumstances as prevailed before the discovery of the islands.

Recognized as the foremost artist on the accordion living today, Deiro has been on American circuits for more than twenty years. He made his initial appearance in the United States at the Alaska-Pacific Expedition, in Seattle.

He is a native of Torini, Piedmont, in northern Italy, but has been a citizen of the United States for many years, maintaining his home in San Francisco. He has served in both the armies of Italy and the United States. He played the baritone in the Italian military band. Deiro will be the guest of honor at a banquet given by the Sons and Daughters of Italy Monday night at the Eagles hall.

Guido Deiro Scrapbook No. 2, page 27

News Clipping - undated

. . . Deiro, the world's greatest accordionist, played. We have never heard many of these instruments played, but never before have we heard such wonderful execution of one of these "wind pianos." The manner in which Deiro handled this most unique instrument was nothing less than marvelous.

Guido Deiro Scrapbook No. 2, page 31

News Clipping - Santa Barbara, California, ca. 1930


"I love Santa Barbara." Guido Deiro laughed as he said it.

Deiro was extremely warm when he came from the stage at the California theater last night. He confessed that changes in programs always made him nervous and ill at ease. "Nervousness," he explained, "is true of all artists."

"I have been on the Orpeum circuit for 20 years, and have never been so delighted with the reception of the audience as I have been here in Santa Cruz -- I beg your pardon, Santa Barbara. Going from one place to another usually gets one mixed in his geography." He explained.

"What is your hobby?" was the only question the interviewer was able to get across.

"Outdoor life." said Deiro. "I just love it. In Italy I lived out of doors. I spend 32 months in the Italian army and nine in the American army, and I enjoyed the outdoor life notwithstanding the fighting. When my present engagement in Santa Barbara has expired, (you see, I'm on a vacation now), I shall go to the ranch of a friend in the northern part of the county to spend a short time in hunting and fishing. If I could have my way, I would live the rest of my days in the outdoors, but of course my audiences would not stand for that."

Glances through a scrapbook while Deiro was removing his grease-paint, brought out the facts that he is the honorary president of the Accordian [sic] club of San Francisco; that his hands are insured for $20,000 each and that he makes 20 records a year for the Columbia Phonograph company.

Guido Deiro Scrapbook No. 1, page 65

News Clipping - Seattle, ca. 1930s


SEATTLE, Oct. 23. -- Guido Deiro, piano-accordionist, has been spending the past five weeks in this territory in both concert and theatre work. Reports from both the Follies Theatre here and the Capitol in Portland declare that Deiro's drawing power is still there, with plenty of biz reported for each week's stand. Concert engagements arranged for Deiro include two nights in Cle Elum and two in Tacoma still to play, with Klamath Falls and Bend, Oregon, already played and reported big successes.

Deiro has been spotted into the Follies for a return engagement opening on the 30th. For this event he will sponsor an accordion playing contest which is reported as already stirring up considerable interest.

Guido Deiro Scrapbook No. 2, page 6

News Clipping - November 3, 1930

Deiro, Accordion King, Began As Street Singer

By Everhardt Armstrong

From street singer to stardom on Broadway! It doesn't sound so romantic to Guido Deiro, Paderewski of the piano accordion and this week's popular idol at the Follies Theatre.

But his career, from its humble beginnings as a wandering urchin in Turin, where he exchanged gay Italian tunes for pennies from the passersby, has a glamour that others can appreciate.

Played In Cafes

"Always, ever since I can remember, I have been a musician -- a professional," Deiro told me, with one of those warm smiles that endear him to every audience. "I sang and played the accordion, in the streets, in cafes, anywhere -- first in Turin, where I was born, later in Germany, France, wherever my fancy took me. I, like the other members of our little band, was very poor; but somehow I never minded it -- much. One day while I was still very young -- it was in 1909, to be exact -- I boarded a steamer for America.

"In many of the big cities of your country I played, my wanderings bringing me, as the months rolled by, to Seattle, at the time of the exposition. I played then at Tait's on Third Avenue, and in other cafes, where music-making was featured and prohibition undreamed of. I did not aspire to the theatre. Somehow it never occurred to me. But when I landed in San Francisco, and Martin Beck of the Orpheum circuit heard me, my career began to take new shape. He immediately booked me for vaudeville appearances, and for eighteen years I toured the Orpheum and Keith circuits, soon climbing to headline prominence. When I returned to Europe it was to be featured in the leading music halls of London and Continental cities."

What explains Deiro's success?

Two things -- personality and virtuosity. People like him. They can't help it. His sheer joy in living is infectious. And he has developed the accordion from a mere toy into an instrument that rivals the organ. He is the creator of the piano accordion, and all his instruments are especially made for him. No imitator claims to match his facile technique. In his field he stands supreme.

And he has won recognition not only from variety audiences, but from great musicians, Caruso was his friend, Respighi, eminent Italian composer, is glad to have Deiro play his famous "Prayer" on the accordion.

His music-making is as buoyant, as spontaneous, as Deiro himself. "Once a musician, always a gypsy," he says.

He has just returned from a fresh series of triumphs in England, where he shared headline honors with Will Fyffe. And soon he'll be on his way South.

In San Francisco he once organized an accordion club. It has 250 members. He has made hundreds of phonograph records and has done several short features for Vitaphone, but he likes to see his listeners face to face. People like him -- and wherever he plays, he finds an eager welcome. The one-time obscure urchin in the streets of Turin is now a universal favorite.

Guido Deiro Scrapbook No. 2, page 43

News Clipping - Stockton, California, 1932

Deiro, Famous Accordion Maestro at National Today

Guido Deiro, famous maestro of the piano accordion, will appear in person at the National today. Deiro is one of the few that could play more than one engagement in a year at the San Francisco Orpheum when vaudeville was at its height and always be assured of a welcome. In those days, every newsboy in San Francisco, and there must have been 500 of them, would be in the gallery on the Monday afternoon of his engagement, and before he could play one note, the applause was deafening. Deiro has also played and headlined Orpheum shows here in Stockton, and without a doubt many of vaudeville's well wishers will be on hand today to greet this famous star's return. In addition to being a vaudeville star of world-wide prominence, he is very well known to radio audiences, and is a Columbia recording star. With these credentials, a fine performance is assured local theater-goers. During his three days stay he will conduct a local accordion elimination contest each evening, and on Friday night the finals will be held. Silver cups will be awarded the winners. All local accordion players wishing to enter the contest should send in their name and address to the National's manager before 7 p.m. this evening.

Guido Deiro Scrapbook No. 2, page 9

News Clipping - Prescott, Arizona, ca. 1934-35


A jolly, well-groomed fellow is Guido Deiro, whose hair is etched with silver to match some of the shiny parts of his beautiful piano accordion. His accordion is his life. The lovely music it has produced at the beck of his finger has been heard practically all over the world. Prescott is going to have the opportunity to hear the versatile Deiro (pronounced Daro) at the Elks theater tomorrow afternoon and night.

This trip to Yavapai county was influenced largely by the artist's friendship for Ernesto Lira of Prescott, who has been in great demand with his accordion for many years throughout the state. They met in Reno, Nev.

"Don't be surprised," he told Lira then, "if some day I shall be in your little city, which you so highly praise. From the way you talk it must be a famous town."

He has made good his expectation -- for here he is. "Believe me," he said today, "I don't think my friend, Lira, exaggerated a bit. I like this place -- the air is so fresh and pure, the people all so nice. I've had some engagements in Jerome but I've commuted there from Prescott. The big piles of rocks, the mountains, the forests, the deserts -- why you have everything in Arizona. May people go to Europe to see mountains. They ought first go to Arizona. As a matter of fact, don't be surprised if my manager, Mr. Herman Weber of New York City, and I don't come back to Prescott next summer for perhaps a month or so."

To Mr. Deiro's credit are scores of phonograph records. That fact coupled with his world travels on concert tours, has won for him the title of "the world's greatest accordionist." He speaks four languages, his native Italian, English, German and French. For 30 years he has played the accordion.

Guido Deiro Scrapbook No. 2, page 52

Hollywood Citizen News - October 23, 1939

Free Concerts

GUIDO DEIRO, first man to introduce the piano-accordion to the concert stage and still considered by many to be the greatest of all accordion players, who is appearing in daily concerts and giving advice to prospective and student players at the May Co.-Wilshire daily through Thursday.

Guido Deiro Gave First Public Accordion Program in This Country

Guido Deiro, to whom is credited the first public accordion concert in this country, is now appearing in free concerts daily through Thursday at The May Co.-Wilshire from 1 to 6 p.m. with a special concert slated on Thursday from 7 to 9 p.m.

Sid Grauman, father of the Hollywood showman, then manager of The American Theater in San Francisco, booked Deiro for his first stage appearance here.

Though the instrument was well known in Italy, showgoers in America were first skeptical then enthusiastic over this strange affair which looked like a miniature piano, was strapped across a man's shoulder and which, when played, proved to have the volume of an organ or an entire orchestra under skilled hands, Deiro declares. Known in Italy as "Armonica Sistema Piano," Deitro [sic] gave it its English name.

Guido Deiro Scrapbook No. 2, page 71

Los Angeles Times - October 1939

In Person. . . "World's Greatest Accordionist," Guido DEIRO


If you have heard a piano accordion, you undoubtedly have heard of Guido Deiro, for he has toured the entire world time and again as the outstanding of all players. Deiro was the first to introduce the piano accordion in this country on the concert and vaudeville stage, on records, radio and screen. For 29 years he was a headliner on Orpheum & Keith circuits. . . And he is a noted composer and author of accordion instruction books.


Informal concerts of opera, popular and march music on Excelsior and Accordiana accordions. Deiro will also be glad to answer your questions about accordions, and accordion study. Parents are invited to bring their children for consultation without obligation of any kind.


(Advertisement for The May Company - Wilshire, The Store of Tomorrow)

Guido Deiro Scrapbook No. 2, page 72

Los Angeles Times - May 28, 1940

Saturday Fixed as Fiesta Day

Mayor, in Proclamation, Calls Attention to 'Times' Sponsored Event

CAST NUMBERS 6000 (continued from First Page)

Besides the majorettes an additional 5700 participants are included in the fiesta cast of 6000. Unsurpassed in outdoor entertainment, the program will feature a 2500-piece band, a male chorus of 1000, a 1500-piece accordion band, a 50-piece symphony orchestra and 700 dancers.

Guido Deiro, who first introduced the piano accordion on the American stage, in 1910, will lead the combined 1500-piece accordion band. "There's not a better man for the job," said P.C. Conn, general director of the fiesta, yesterday. For 29 years, a headliner on the concert and vaudeville stage, Deiro is recognized as the outstanding accordionist in America. First to make an accordion recording, Deiro now has more than 350 records on the market.

Guido Deiro Scrapbook No. 2, page 72

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