Future Classic Accordions

[Walker]

There was an Accordionists Forum thread started in 2013 that ran until 2019 before it was closed, it was about the greatest piano accordion models. The likes of the Super VI (M & N series) and 1960s Gola 414, 459 etc. were some of the legendary names, as you would expect. However, while picking the most famous names of the Golden Age is a fascinating task, it might be interesting to consider what accordions might become recognised in the future as great instruments. Not quite so easy to predict the future!

So, I would really like to hear what you all think. Which current production accordions (of any system) will be revered by musicians and collectors alike? Please give the specifics of the special model and why they are so good.

Many thanks,

Stewart​

 

[JerryPH]

I don't know what the new ones will go on to be legends, but I know that nothing from China will be on that list. I don't know, if pressed for a name or 2, the Victoria Poeta comes to mind. Of course I would say a Gola, but thats not a "modern legend". The Pigini Nova or Serious lines definitely have the pedigree to become legends and in terms of a recent developments, one cannot ignore the Beltuna Leader V Fly which contains carbon fibre parts and has the supporting lofty price to match... lol

 

[petch]

I imagine the Pigini Mythos will be one of those models that are indefinitely expensive and sought after, given their limited production

 

[debra]

I imagine the Pigini Mythos will be one of those models that are indefinitely expensive and sought after, given their limited production

Not so sure about that. As far as I know the Mythos was essentially just a modified Sirius, modified to put Russian large bayan plates in it. Great sound but a nightmare to maintain and tune (just like all Russian bayans).

 

[Walker]

Good start... I like these choices guys.

Interesting point DeBra! I had heard that the Pigini Mythos was a limited production run of 33 accordions, that were developed with great artists and fitted with Russian reed plates like your say. However, I was once told that the reason there were only 33 made is because Pigini had sourced a very special and super-expensive supply of wood that was used to make them - and they literally only had enough wood to make 33 instruments before it was gone. I know there are many Professors who have one, including Owen Murray and James Crabb, both Scotsmen.

Anyway, I added the Beltuna Spirit line to the list. I had an extended try out of a Spirit IV 108 M Classic a few years ago and it was lovely, with a very silky tone and sleek design, excellent detailing too. I also saw yesterday that Thomann are now selling Beltuna accordions online. My heart skipped a beat, as I thought they might be less expensive than the small shops. How wrong! One of the "Luxury" versions was over £17,000 for a standard bass accordion. Still, if I won the lottery...

Pigini Mythos
Pigini Nova
Victoria Poeta
Beltuna Leader V Fly
Beltuna Spirit IV or V (Classic or Luxury version)
Piatanesi accordions, and other similar Italian family owned and operated accordion makers.

These accordions above all appear to be innovative in one way or another. Is innovation important?

What's going to become a future standard in other national/folk genres?

Would a new Gola or new Super VI still make the list?

Victoria were arguably the first 'modern' wooden accordion maker (though there were wood accordions long ago), but were other brands just as good or better at the wooden accordion?

 

[JerryPH]

1-These accordions above all appear to be innovative in one way or another. Is innovation important?
2-What's going to become a future standard in other national/folk genres?
3-Would a new Gola or new Super VI still make the list?
4-Victoria were arguably the first 'modern' wooden accordion maker (though there were wood accordions long ago), but were other brands just as good or better at the wooden accordion?

Innovation is a double edged sword in today's world. Being "different" means standing out from the rest of the herd, but I feel that in today's "instant satisfaction" society, they tend to sacrifice longevity and ultimate quality when adding innovations.

What will be a future standard for national/folk genres? Well, I will say that folk genres is basically musical echos of the past, and I am willing to say that the current standards and accordions that play best with them now are basically the best for that, simply because the standards are set. The "new legends" will have to be pretty good to meet that standard, and to be new legends, be able to set new standards... a tough game!

Would a new Gola or Super VI make the "Legendary" list today? Not sure... I tend to sway more on the side of "no" more than "yes", because it seems that players today in general seem to prefer the sound of the older ones better than the new ones, that the new ones now tend to cut corners to keep costs down, something that in the past, I do not think they considered as much. There is also the sad fact that the popularity, and hence, the profitability, of the accordion today is much lower than it was in the past... and that is a huge deterrent in creating the new guard.

In the past, there were other accordions that were all wood, but none had the legendary status, the reputation of being as good. The Poeta is a visual marvel, but it was also a sonic marvel too, they didn't skimp on the innards to make it look good, unlike, for example the more modern 8X/EVO story.

 

[debra]

Good start... I like these choices guys.

...

Pigini Mythos
Pigini Nova
Victoria Poeta
Beltuna Leader V Fly
Beltuna Spirit IV or V (Classic or Luxury version)

These accordions above all appear to be innovative in one way or another. Is innovation important?

What's going to become a future standard in other national/folk genres?

Would a new Gola or new Super VI still make the list?

Victoria were arguably the first 'modern' wooden accordion maker (though there were wood accordions long ago), but were other brands just as good or better at the wooden accordion?

Some things are simply overrated, including special rare wood (there is plenty of really good wood available that I believe will sound just as good), and some innovations have yet to prove there longevity, like the solenoid bass mechanisms of new top Beltuna accordions. So far everything that involved electronics in accordions made the accordions obsolete long before the mechanical parts could wear out.
There are really good innovations too, like the "amplisound" in the Beltuna Leader series (and others). Some innovations still have to prove themselves, like blue-star reeds (reeds that are put through another heat cycle after pre-tuning, so both sides are blue.
I still feel that the "pure wood" finish, first introduced by Victoria, is overrated. Sure, it requires better wood to be used for the construction of the treble and bass side, but that could also be done when the accordion is then covered with celluloid... (It would make the accordion more expensive for something you don't see... and that's hard to sell.) I heard the main motivation for moving towards all-wood finish is that it is not unlikely that celluloid will at some point be banned because it is deemed too dangerous. (And fires in accordion factories show that very well...)
I have worked on a recent Gola (from about 20 years ago) I must say there is absolutely nothing about these newer Gola accordions that makes them stand out (and thus be worth a lot more than other accordions). A Gola from 1960 is a completely different beast.
Given that over 95% of the parts that go into a new accordion are sourced from a small number of suppliers it is very hard to make an accordion that really stands out. But... the devil is in the detail, meaning in the remaining 5%, and that includes the outer shell and the reed blocks.

 

[Ffingers]

It is wise to consider the cost of these magnificent handmade music machines against the daily income of a bricklayer's laborer at the time of purchase.
Standardisation and mass manufacturing has brought many 'luxuries' into the domain of the common folk.

 

[Ventura]

for the bricklayers and their sons and daughters, i would love to
be able to say that there is a moderately priced line of accordions
which are so nicely engineered, consistent and well finished in production,
that over a 60 year period you could pick any one of the many thousands
built and it would play well, last a long time without requiring much service,
and be a solid companion for decades to every Student who received one.

affordable quality.. now THAT is what i would recognize as "future great"

but alas, Excelsior and that seminal, incredibly reliable line of Accordiana's
301 501 etc. etc. ended when the CEMEX factory was closed

and i see nothing in sight anywhere near close, so my answer to the original question is

none

as all these gaudy strumpets of high-priced elite accordions are mere pretenders at best,
targeted to a dwindling market of wealthy leisure time musicians rather than a flow
of humans wishing to make a living through Music through an Instrument that is
both cost effective as well as phenomenally reliable and a joy to play

the Golden Age Sonola stroller was legendary because so many people were able
to AFFORD them then make an actual living playing them night after night after night
after night after night after night...

and i see nothing in sight anywhere near close, so my answer to the original question is

none

 

[Tom]

for the bricklayers and their sons and daughters, i would love to
be able to say that there is a moderately priced line of accordions
which are so nicely engineered, consistent and well finished in production,
that over a 60 year period you could pick any one of the many thousands
built and it would play well, last a long time without requiring much service,
and be a solid companion for decades to every Student who received one.

affordable quality.. now THAT is what i would recognize as "future great"

but alas, Excelsior and that seminal, incredibly reliable line of Accordiana's
301 501 etc. etc. ended when the CEMEX factory was closed

and i see nothing in sight anywhere near close, so my answer to the original question is

none

as all these gaudy strumpets of high-priced elite accordions are mere pretenders at best,
targeted to a dwindling market of wealthy leisure time musicians rather than a flow
of humans wishing to make a living through Music through an Instrument that is
both cost effective as well as phenomenally reliable and a joy to play

the Golden Age Sonola stroller was legendary because so many people were able
to AFFORD them then make an actual living playing them night after night after night
after night after night after night...

and i see nothing in sight anywhere near close, so my answer to the original question is

none

I humbly disagree as I pick up my reasonably priced, solidly built, beautiful Piatanesi (or two) or likewise my Della Noce and smile as I play a few tunes. I know I'm a broken record going against the flow.

Also the byMarco eagles which I predict hip status because, you know, visibility, playability and you know, untimely passing.

There is hope.

BTW, when was the last time you hired a bricklayer (mason)? Nowadays the tradesmen make more than the hedgefunders!

 

[Walker]

Oh man, your bluey is a beauty of a box. Send us a video Tom of you playing a tune. It would surely make the list for reasonably price allrounder - Piatanesi power!

 

[Tom]

Oh man, your bluey is a beauty of a box. Send us a video Tom of you playing a tune. It would surely make the list for reasonably price allrounder - Piatanesi power!

Hmmm, I have no videos of that accordion up? Maybe one that doesn't show the accordion, not sure. Ok, I'll make one..... There're both blue and beautiful but I think you mean the full size on the right. Oh, and don't forget that although these are the "standard" models, they do also make pro models with a mano reeds and all that.

 

[debra]

...

Anyway, I added the Beltuna Spirit line to the list. I had an extended try out of a Spirit IV 108 M Classic a few years ago and it was lovely, with a very silky tone and sleek design, excellent detailing too. I also saw yesterday that Thomann are now selling Beltuna accordions online. My heart skipped a beat, as I thought they might be less expensive than the small shops. How wrong! One of the "Luxury" versions was over £17,000 for a standard bass accordion. Still, if I won the lottery...

...

When you are willing to risk ordering an accordion on-line you should never ever order through an on-line dealer like Thomann.
You can order directly from several Italian manufacturers, and I believe Beltuna is no exception. When you order through a reputable local dealer you are very likely to get a much better price quote than what Thomann and others are offering. If you do wish to pay a premium of going through a dealer (who obviously also needs to make money on the sale) then do it through a local dealer who can also service the accordion!

 

[Walker]

Wouldn't it be great to go to one of the accordion factories and have an accordion specially made. Still, I think the great benefit of buying from a shop is that you can play the actual accordion before you buy it, so there are no surprises. I expect anyone wealthy enough to buy a Beltuna Spirit Luxury version, would be less concerned about the premium involved in buying from a retailer. However, there is a considerable difference in price between the Classic and the Luxury versions. The Luxury version would be the one to go for in my opinion if money were no consideration. I believe there is greater choice in the wood finishes available and the grill is inlayed in real mother of pearl, and there are more decorative features too.

The problem some accordion manufacturers have is that they are burdened by the success of their past achievements, and end up being crystalised in a zone where they have to keep trying to recreate their best models of the past, but they can never live up to the achievements as they cannot recreate the reeds from 70 years ago etc. That said, I think the likes of Scandalli put a lot more innovation into their Conservatorio and Air models where they are free to be more creative than on their 'heritage' models.

The thing about the models like the vintage Gola or Super VI is that we see them as being the height of quality. Certainly they are great quality, but at the time they were being made in the 1950s and 1960s they were more than just better quality than what went before, they were different and innovative. Gola introduced new techniques of tuning and keyboard design for example. This was the result of research and development.

This is where the likes of Beltuna and a few others maybe have a chance of succeeding, as they do not have to keep trying to 'recreate' old designs like Hohner and Scandalli. When it comes to standard bass accordions, Beltuna are finding new ways of replacing the celluloid on their instruments with paint techniques which makes their instruments lighter and more visually interesting. Their amplisound is a development beyond the traditional cassotto or mutes behind the grill. Also some of the reed preparations of Beltuna involve a greater degree of selection and adjustment than is the norm nowadays.

Still, Beltuna is just a guess for a future classic. Should Brandoni Infinity or Bugari G1 make the list? Perhaps the idea of striving for 'new standards' is irrelevant and old hat in this day and age? Does personalisation and individuality in accordions matter more than the principles of 'great quality' and 'enduring design'? Maybe trying 'too hard' is just uncool (and expensive)? Great to hear any suggestions...​

 

[Ventura]

just to note:

in the 1990's Fisitalia (who never did have a celluloid operation)
set up perhaps the first of the modern accordion paint shops
in their factory

they offered to paint your Accordion to match your Ferrari if you wished,
and that cute little Asterix matched button box they took to MusicMesse
was a hit etc.

Italy did outlaw the "black hand" finishing style before the turn of the century,
which essentially marked the beginning of the end to the practice and use
of Cellulose "mother of pearl" accordion bodies and solvent fueled factory fires
(i do not know how long they allowed grandfathered operations to continue)

 

[JIM D.]

If you expect a current produced model to earn the badge of "Classic", you will need some patience.
Accordions called Classic's usually are models of at least of 30+ years of production and proved to
have a Wide popularity, Quality build; and Sound.
That said - Have Patience !!

 

[Tom]

Hate to say it, and many will not agree, but, like the Cordovox, your Fr8x will be considered a "classic" in 30 years.

 

[Ventura]

i definitely would not agree

i would say the FR7 and FR3 could be considered classics (and groundbreakers) eventually
and i predict many will still be playing years after all the FR8's are propping doors open

IMHO the stepper motor bellows configuration is a fatal flaw
to any hopes for longevity, and was an unnecessary complication
introduced to solve a [problem that did not exist essentially,
but that would earn a few Italians long term residual payments for the
rights, and the marketing department pats onna back for an exclusive selling point

 

[Ventura]

If you expect a current produced model to earn the badge of "Classic", you will need some patience.
Accordions called Classic's usually are models of at least of 30+ years of production and proved to
have a Wide popularity, Quality build; and Sound.
That said - Have Patience !!

absolutely

"the Test of Time"

Hammond B3
Fender Rhodes

 

[Walker]

So do the Rolands make the list or not?