Walker
🪗
In the difficult days in which we live, a simple story can help pass the time. I hope you will allow me to meander down a well trodden lane, if only for a moment or two. The mists of time may somewhat obscure the details in my path, but it also heightens the sense of mystery, and I for one have always appreciated a legend or two.
I can see it now, in my mind's eye, the first mega-accordion. In the early days of World War II, the Dallape factory was concerning itself with heavenly matters, despite living in such troubled times. It was 1941 and, as a result of decades of research and knowledge, Giovanni Gola, and his boss Giuseppe Dallape, created the Liturgical accordion. It had 6 treble voices ranging from the deep 32 foot voicing, right up to a 2 & 2/3 foot voicing that soared above the piccolo. Incidentally, the accordion also had an additional row of pedal notes on the bass, for extra thunder. Yes, the tone was like a great organ – the Liturgical accordion had been built for the Cathedral as much as for the concert hall. Only 4 were built and Pope Pius XII received one as a gift. This instrument resulted in the entitlement for the accordion to be permitted in performing music of the Church service. This accordion pushed the limits and it was arguably the first mega-accordion.
As I stroll through my thoughts, I am next drawn to consider the Hohner Gola 459. It is a simple link - the same master builder of the Liturgical accordion created this gem of the Golden Age - a free bass instrument no less. The Gola was not a limited production model and there have been many fine accordions with various free bass systems over the years. Also, Giovanni Gola was in Hohner's employment from 1952 to around 1972, and they had the capacity to make many accordions. This does not detract from the instrument - it had a silken tone, and the violin register was close to ghostly. There were also the Silver Golas, and some of the earlier models had, shall we say, extra-special reeds. Ah, not all Gola's are the same! But I digress... I must move on from Gola, because there is something magical when a great accordion is also really and truly rare...
Perhaps, this would be a good time to mention a special name, the great master Yuri Volkovich. Was he good? He was on a different planet. Jupiter, to be precise. When the Russian virtuosi talk about Jupiter's bayans, Yuri Volkovich's name is never too far away. During his life Volkovich built 16 bayans. I believe his last instrument was finished in 1981 as a gift of friendship to maestro Veikko Ahvenainen. Apparently Volkovich knew it would be his last, and he passed away shortly after. Those musicians who own such an accordion beam with pride as they mention his name. Commentators fall over themselves to describe the tone of the Volkovich Jupiter.
You know, from what I can gather, the Volkovich Jupiter was also, in part, an inspiration for another mythical accordion. Massimo Pigini is a man of intellect, and he listened to Mogens Ellegaard, Friedrich Lips, Viatcheslav Semionov - all admirers of the Volkovich bayan. They wanted an Italian masterpiece with artisan reeds from Russia, and that's what Pigini gave them. In around 1986/7 Pigini started a limited production of 33 instruments, and their owner's reads like a 'Who's Who' of the button accordion... The Mythos was created.
So what came next? Who is the new Giovanni Gola? What's the latest mega-accordion? Don't ask me, sure I don't have the faintest clue! I just like telling stories... In fact I was hoping you all might know? Okay, I know there's no such thing as a mega-accordion, I may have just made up the title. But its given you something to read for a few minutes, and that was my intention all along.
For now, wishing you all a Happy Christmas and a great New Year.
Stewart
I can see it now, in my mind's eye, the first mega-accordion. In the early days of World War II, the Dallape factory was concerning itself with heavenly matters, despite living in such troubled times. It was 1941 and, as a result of decades of research and knowledge, Giovanni Gola, and his boss Giuseppe Dallape, created the Liturgical accordion. It had 6 treble voices ranging from the deep 32 foot voicing, right up to a 2 & 2/3 foot voicing that soared above the piccolo. Incidentally, the accordion also had an additional row of pedal notes on the bass, for extra thunder. Yes, the tone was like a great organ – the Liturgical accordion had been built for the Cathedral as much as for the concert hall. Only 4 were built and Pope Pius XII received one as a gift. This instrument resulted in the entitlement for the accordion to be permitted in performing music of the Church service. This accordion pushed the limits and it was arguably the first mega-accordion.
As I stroll through my thoughts, I am next drawn to consider the Hohner Gola 459. It is a simple link - the same master builder of the Liturgical accordion created this gem of the Golden Age - a free bass instrument no less. The Gola was not a limited production model and there have been many fine accordions with various free bass systems over the years. Also, Giovanni Gola was in Hohner's employment from 1952 to around 1972, and they had the capacity to make many accordions. This does not detract from the instrument - it had a silken tone, and the violin register was close to ghostly. There were also the Silver Golas, and some of the earlier models had, shall we say, extra-special reeds. Ah, not all Gola's are the same! But I digress... I must move on from Gola, because there is something magical when a great accordion is also really and truly rare...
Perhaps, this would be a good time to mention a special name, the great master Yuri Volkovich. Was he good? He was on a different planet. Jupiter, to be precise. When the Russian virtuosi talk about Jupiter's bayans, Yuri Volkovich's name is never too far away. During his life Volkovich built 16 bayans. I believe his last instrument was finished in 1981 as a gift of friendship to maestro Veikko Ahvenainen. Apparently Volkovich knew it would be his last, and he passed away shortly after. Those musicians who own such an accordion beam with pride as they mention his name. Commentators fall over themselves to describe the tone of the Volkovich Jupiter.
You know, from what I can gather, the Volkovich Jupiter was also, in part, an inspiration for another mythical accordion. Massimo Pigini is a man of intellect, and he listened to Mogens Ellegaard, Friedrich Lips, Viatcheslav Semionov - all admirers of the Volkovich bayan. They wanted an Italian masterpiece with artisan reeds from Russia, and that's what Pigini gave them. In around 1986/7 Pigini started a limited production of 33 instruments, and their owner's reads like a 'Who's Who' of the button accordion... The Mythos was created.
So what came next? Who is the new Giovanni Gola? What's the latest mega-accordion? Don't ask me, sure I don't have the faintest clue! I just like telling stories... In fact I was hoping you all might know? Okay, I know there's no such thing as a mega-accordion, I may have just made up the title. But its given you something to read for a few minutes, and that was my intention all along.
For now, wishing you all a Happy Christmas and a great New Year.
Stewart
