Chopin's Nocturne is Simply Beautiful on Accordion!
- Thread starter AccordionJustice
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Walker
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I really like Chopin on the accordion! Good choice @AccordionJustice.
Here's one more Chopin piece for you AJ (but it's a waltz).
Richard Galliano, on an early 1960s Victoria Ac420V, button accordion.
A marvellous sound too (and the Victoria is my favourite button accordion).
Here's one more Chopin piece for you AJ (but it's a waltz).
Richard Galliano, on an early 1960s Victoria Ac420V, button accordion.
A marvellous sound too (and the Victoria is my favourite button accordion).
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This is my favorite version...
AccordionJustice
Active member
I really like Chopin on the accordion! Good choice @AccordionJustice.
Here's one more Chopin piece for you AJ (but it's a waltz).
Richard Galliano, on an early 1960s Victoria Ac420V, button accordion.
A marvellous sound too (and the Victoria is my favourite button accordion).
This piece is stunning. Thank you Walker for brining it to my attention. I'm not to well versed in Chopin's waltzes so this is certainly a great introduction.
I'm curious, what makes Victoria your favorite button accordion?
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Walker
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Well AccordionJustice...
Seasons come and go - but even when the summer has faded to the cooler autumn, we can still recall the warm days gone by. And one such time, now known as the Golden Age, produced a rich yield, by those in the workshops of Italy and Germany making accordions. There was an enthusiasm for the accordion in the 1950s and even into the 1960. It was a time when the world watched and listened and learned the accordion. But it was also an era when the materials, designs and craftsmanship were so great that, even today the best factories are still inspired by the instruments of yesteryear.
Dallape, Scandalli, Hohner, Victoria are just a few of the great names. Each had its own beautiful tone that can only be obtained through the best of everything, no short-cuts. I think the Hohner Gola and the Scandalli Super VI were very special – especially for their quality and tone. Many of the greatest accordion players today still perform with vintage accordions. Stefan Hussong on the MIII Gola, for example, produces the most wonderful interpretations of Bach, to my ears anyway.
But I will spare you several pages of text about many great accordion makers of the Golden Age and I will fast-forward to Victoria... Victoria is an old name that made some beautiful accordions. I think the A420V (and its variations) known as the Professional line, is a great instrument - in both piano and button form. However, it is the converter line that is most magical to me. Victoria were early innovators in the field of the quint converter, which is a free bass system that is very close to my heart. Also, it is not to be forgotten that much of Titano's great heritage is linked to the countless instruments produced in association with Victoria, especially the Palmer & Hughes instruments.
When I listen to Richard Galliano playing his button accordion - an Ac420V, 47 notes, 120 bass (with 36 free bass, arranged in 5ths) I hear a legendary instrument with soft, silky tone and a wonderful compass of notes, starting on C2 in the bass - the velvety note that the Cello, a most majestic instrument, also often starts on. Does the vintage Victoria Ac420V have the most extreme range of notes? Certainly not. Thunderous basses can be found elsewhere! The Victoria Professional, in either button or piano form, is just a beautifully crafted instrument crammed with potential for all sorts of music - Classical, Folk, Jazz etc. In the hands of Richard Galliano, the legendary Victoria quint converter comes to life.
But as the seasons come and go, I can only hope that one day soon there will be a new summertime for the accordion, with new legendary instruments for the future - our instrument deserves its place in the sun.
Dallape, Scandalli, Hohner, Victoria are just a few of the great names. Each had its own beautiful tone that can only be obtained through the best of everything, no short-cuts. I think the Hohner Gola and the Scandalli Super VI were very special – especially for their quality and tone. Many of the greatest accordion players today still perform with vintage accordions. Stefan Hussong on the MIII Gola, for example, produces the most wonderful interpretations of Bach, to my ears anyway.
But I will spare you several pages of text about many great accordion makers of the Golden Age and I will fast-forward to Victoria... Victoria is an old name that made some beautiful accordions. I think the A420V (and its variations) known as the Professional line, is a great instrument - in both piano and button form. However, it is the converter line that is most magical to me. Victoria were early innovators in the field of the quint converter, which is a free bass system that is very close to my heart. Also, it is not to be forgotten that much of Titano's great heritage is linked to the countless instruments produced in association with Victoria, especially the Palmer & Hughes instruments.
When I listen to Richard Galliano playing his button accordion - an Ac420V, 47 notes, 120 bass (with 36 free bass, arranged in 5ths) I hear a legendary instrument with soft, silky tone and a wonderful compass of notes, starting on C2 in the bass - the velvety note that the Cello, a most majestic instrument, also often starts on. Does the vintage Victoria Ac420V have the most extreme range of notes? Certainly not. Thunderous basses can be found elsewhere! The Victoria Professional, in either button or piano form, is just a beautifully crafted instrument crammed with potential for all sorts of music - Classical, Folk, Jazz etc. In the hands of Richard Galliano, the legendary Victoria quint converter comes to life.
But as the seasons come and go, I can only hope that one day soon there will be a new summertime for the accordion, with new legendary instruments for the future - our instrument deserves its place in the sun.
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