I agree. His technicality is really good, but his music doesn't breathe.
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Bach Double Feature: Prelude in C Major & Jesu, Joy of Man’s Desiring on Hohner Morino Bayan
- Thread starter breezybellows
- Start date
Walker
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I guess some types of music are just about making a big sound, or lots of rhythm for dancing, or "impressing" people with lots of notes - musical plate spinning etc. That's okay and accordion is often good at that.
Other types of music are more delicate and really need to breathe, and that kinda underlines the importance of musical rests to me, as one element that matters. I have a theory, of sorts, that goes further still and I'd suggest that music that has lyricism is something to be appreciated also. Finally, I'd take another bold step and suggest that musical instruments are even more "special" when they have the capacity to be like the human voice. I think of the violin, cello and some of the woodwinds, like the oboe, that can possess a tonal quality that almost sings.
Generally, I'd say it's harder (but not impossible) for the accordion to sing because of its complexity in voicing, the mechanical nature of the stradella chords and the widespread use of digital sounds and midi etc. These can be strengths in other types of music, but not so much in music with lyricism. I think somehow when simplicity is embraced, by perhaps using "less", the accordion can be quite lyrical. An alabaster-like "clarinet" voice or shimmering "violin" coupled with free bass left hand can be exquisite and give any instrument a run for it's money, if you've got the right musician playing it.
Other types of music are more delicate and really need to breathe, and that kinda underlines the importance of musical rests to me, as one element that matters. I have a theory, of sorts, that goes further still and I'd suggest that music that has lyricism is something to be appreciated also. Finally, I'd take another bold step and suggest that musical instruments are even more "special" when they have the capacity to be like the human voice. I think of the violin, cello and some of the woodwinds, like the oboe, that can possess a tonal quality that almost sings.
Generally, I'd say it's harder (but not impossible) for the accordion to sing because of its complexity in voicing, the mechanical nature of the stradella chords and the widespread use of digital sounds and midi etc. These can be strengths in other types of music, but not so much in music with lyricism. I think somehow when simplicity is embraced, by perhaps using "less", the accordion can be quite lyrical. An alabaster-like "clarinet" voice or shimmering "violin" coupled with free bass left hand can be exquisite and give any instrument a run for it's money, if you've got the right musician playing it.
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Sorry to bring back an old thread, but apparently Hohner was "experimenting" with the Bayan technology on the Morino and the Gola. I guess they did not like the results or the demand was not there and they only made a few and sold those off to the public.Congratulations Breezy - what an awesome instrument.
Didn't know that HOHNER is building custom instruments based on the MORINO series.
Please enjoy it a lot and share with us
The picture above was taken in the Hohner factory in Trossingen, its the world's ONLY Gola Bayan CBA in existence, per the man that builds Golas for Hohner.
breezybellows
Well-known member
The only similarity between my Morino bayan and the old Morino VI N is the monstrous size. The chin switch design is amazing. Keyboard frame is very thin. Paul thinks that it's made by Pigini. Guenadiy is sure that it's made in Germany (after he looked into it). Joe Petosa looked at the pictures and said "that keyboard is definitely Germany". I'm not sure why Hohner's accordions are always shrouded in mystery.Sorry to bring back an old thread, but apparently Hohner was "experimenting" with the Bayan technology on the Morino and the Gola. I guess they did not like the results or the demand was not there and they only made a few and sold those off to the public.
The picture above was taken in the Hohner factory in Trossingen, its the world's ONLY Gola Bayan CBA in existence, per the man that builds Golas for Hohner.
I was talking about the fact that your MORINO was not the only Bayan that Hohner made… they made a Gola Bayan and a few more (numbar unknown to me) MORINO Bayans in both CBA and PA. Per my discussions with the man that was involved with every Gola in the last decade+, that Gola Bayan is a 1 of 1.
Hohner is not so much a mystery as they are experimenters. They try things, if it sells, they make more, if not they sell off what they made and move on. The accordion museum in Superior Wisconsin has many of Hohner’s “experiments” (at least 3 or more Gola alone, and more in other models all from Hohner) and in the Trossingen museum, there is a very cool looking Morino that is a VI N on the right hand and 4-row C-system free bass ONLY (no Stradella) on the left side (just beautiful to see, I would love to try that one, but it was behind glass).
Hohner is pretty well known for making “one-offs”, even Paul referenced some kind of Hohner that had Cassotto that no other Hohner of that designation ever had… another 1 of 1.
These experimentals are all made in Trossingen. If a design is ratified, they may send what is needed to get the models done outside to save money/time.
Hohner is not so much a mystery as they are experimenters. They try things, if it sells, they make more, if not they sell off what they made and move on. The accordion museum in Superior Wisconsin has many of Hohner’s “experiments” (at least 3 or more Gola alone, and more in other models all from Hohner) and in the Trossingen museum, there is a very cool looking Morino that is a VI N on the right hand and 4-row C-system free bass ONLY (no Stradella) on the left side (just beautiful to see, I would love to try that one, but it was behind glass).
Hohner is pretty well known for making “one-offs”, even Paul referenced some kind of Hohner that had Cassotto that no other Hohner of that designation ever had… another 1 of 1.
These experimentals are all made in Trossingen. If a design is ratified, they may send what is needed to get the models done outside to save money/time.
breezybellows
Well-known member
Aha. Prototypes. Do you know the timeline for the Gola bayan? And now many of the Morino bayans were made?
I was talking about the fact that your MORINO was not the only Bayan that Hohner made… they made a Gola Bayan and a few more (numbar unknown to me) MORINO Bayans in both CBA and PA. Per my discussions with the man that was involved with every Gola in the last decade+, that Gola Bayan is a 1 of 1.
Hohner is not so much a mystery as they are experimenters. They try things, if it sells, they make more, if not they sell off what they made and move on. The accordion museum in Superior Wisconsin has many of Hohner’s “experiments” (at least 3 or more Gola alone, and more in other models all from Hohner) and in the Trossingen museum, there is a very cool looking Morino that is a VI N on the right hand and 4-row C-system free bass ONLY (no Stradella) on the left side (just beautiful to see, I would love to try that one, but it was behind glass).
Hohner is pretty well known for making “one-offs”, even Paul referenced some kind of Hohner that had Cassotto that no other Hohner of that designation ever had… another 1 of 1.
These experimentals are all made in Trossingen. If a design is ratified, they may send what is needed to get the models done outside to save money
These were experiments... no timelines were mentioned (but looking good at the Gola grill, it is not the latest version) and no real numbers other than one Gola Bayan, the one in my Pic that I took while in Trossingen and "a few each" for PA and CBA. Technically, I believe that the CBA versions of the PA Morino was called the Artiste. Paul can confirm that tidbit.
