Do certain brands favour specific genres?

[forró]

I know that some genres have specific accordions better suited for the style, e.g. Vallenato players use diatonic button accordions.
A lot of them use Hohner. Of course, Hohner makes a range of accordions for other styles.

But...are there certain brands that intentionally cater for specific genres, or at least unintentionally become popular amongst certain genres for x, y, z reason?

If anyone knows, and can list it out - that would be great!

 

[Ventura]

Jazz = Excelsior

Strolling professional Musicians = Sonola

Rock'nRoll = original Tube Type Cordovox /Lowry Organ electronics

Classical = Titano

Norteno = Gabbanelli

(French) Meusette = Maughein and PierMaria

Liturgical = Dallape

Folk/Ethnic = the little red Paolo Soprani's

American Polka = PanCordion
German Polka = (Slavko) Morino
Volksmuzik = Alpine type Hohner

Italian = any big old Black Scandalli with gaudy Chrome Grillework and hubCap mutes

and for professionals who can play in every style = Gola

while these titles were well earned in their prime of life, they have
only a limited connection to todays offerings of course, and while
i perceive these as the overwhelming choices of the professional
players at large, at the time, there is a lot of room for other brands
and models as well.. nevertheless, young players coming up coveted
these brands and certain models and considered themselves blessed
if they got a chance to own one and perform on one

 

[Tom]

Forró = Piatanesi (or Scandalli if you like, and can find, vintage).

Tarantella (organetto style) = Della Noce.

Old Time (button box) = Hohner Corona

 

[Walker]

Firstly, I would say all accordions, by their very nature, are versatile and so any Italian, German, American or other brand can make models suitable for many/all styles of music. I particularly like some of the smaller name brands.

However, what I am about to say next might induce Bugari/Zero Sette/Petosa and Scandalli fans to splutter and regrettably drop their digestives into their cuppa tea...

@Ventura, I quite like your list! I am pleased Dallape and Titano made "the cut" in the Liturgical and Classical category respectively. But here's a question...

Could Pigini actually be the natural successor to both Dallape (as Liturgical choice) and also as leader of the whole "Classical" category in general? I think so...

Why do I say this? Well, in the absence of a genuinely legendary new Scandalli Super VI or Hohner Gola that can hold a candle to the 1950 & 1960s models, a big gap has been created. It seems Pigini as both master accordion-makers and master accordion-marketers, are simply too quick for the others - especially in the latter category!

However, it's more than marketing, me thinks! I was watching Youtube yesterday and was shocked to find an accordion shop in Germany selling a Pigini Nova PA. It was demonstrated by a fantastic accordionist named Christine Herzog.

I listened to the first minute of the following recording (before Miss Herzog starts playing with different switches & styles). The music this lady played at the start sounded just heavenly to my ears (even if we make allowances for the recording/sound processing etc. this is undeniably a quality instrument). Erm, so good it doesn't sound like an accordion. Warm and tranquil, like a little organ played in a little country chapel surrounded by bluebells, with the gentle summer light beaming through the colourful stained glass. You get the idea... I nearly fell off my pew when I heard it..

I think this is a beautiful sound, really rare - maybe even better than a Gola.

 

[Ventura]

there is no question Pigini is the most fully vertically integrated accordion
factory left on the planet earth

both these factories are of course gone now, though the names live on,
but last two giants who could make accordions entirely on their premises
from raw materials were Cemex/Excelsior and S.E.M. and sadly now there
is no-one that can go from "Soup" to "Nuts" without outside influence and help.

however, because Pigini has more control over more processes and full control
over raw materials, they have distinct and huge advantages over all
other brands, whether principles or just boutique makers, who must
by nature share so many pre-fabricated parts and assemblies

what comes to mind as quick example is the free-bass assembly which, even after
it goes out of patent, is likely to remain a Pigini exclusive as who else
can afford to tool up at a cost effective level to imitate it ? and it is
simply the best of breed and has been for some time

while people at places like Serenellini can focus on aspects, and have
one or some models and items leading the pack in one area or another
(the example in mind is Luciano's amazing skill with leather mounted reeds)
overall i would agree with the Scotsman... Pigini is now the standard bearer
of the industry

 

[Dingo40]

I'd invert the question:
Do certain genres favour particular brands?
Here I would say, German popular music goes for Hohner, Dalmatian musicians (used to) favour Dalapé (6 row CBAs) and South Americans Giulietti (PA)

 

[forró]

I'd invert the question:
Do certain genres favour particular brands?
Here I would say, German popular music goes for Hohner, Dalmatian musicians (used to) favour Dalapé (6 row CBAs) and South Americans Giulietti (PA)

You're right Dingo. I think the question would have been better the other way around!

 

[Walker]

Cooperfisa, Stocco, byMarco (and Ranco of old) also seem to put alot of effort into Italian/international musette styles. I like them!

Vintage Hohner Morino VM and Hohner Shand Morino are appreciated in Scottish music. Especially for the full Scottish musette (over 20 cent).

Guerrini, Dallape, Scandalli, Siwa & Figli, Weltmeister are favoured in Balkan music.

 

[Ffingers]

So, where does the beautiful six row Paolo Soprani 'Super Organ' CBA of mine fit into the picture?
It has been said to me that it was designed to cope with the high velocity Balkan styles of music which, of course, is completely wasted on my pedestrian efforts.
But the tonality; Ah-h-h, the tonality; as sweet and/or as raucous as I care to make it.
When I can lift it, that is

 

[Walker]

So, where does the beautiful six row Paolo Soprani 'Super Organ' CBA of mine fit into the picture?
It has been said to me that it was designed to cope with the high velocity Balkan styles of music which, of course, is completely wasted on my pedestrian efforts.
But the tonality; Ah-h-h, the tonality; as sweet and/or as raucous as I care to make it.
When I can lift it, that is

The King of Accordions... obviously.

 

[Dingo40]

I'd say that it was made for playing traditional Balkan music,as you have already said!
Such as this:
(Use the YouTube option)

Another example:

 

[Ffingers]

Four King accordion, Walker - or so my housemate claims

 

[Ffingers]

Very interesting, DIngo, thanks.
The use of all five digits on the treble keys is noticable.

 

[JerryPH]

Well, in the absence of a genuinely legendary new Scandalli Super VI or Hohner Gola that can hold a candle to the 1950 & 1960s models, a big gap has been created. It seems Pigini as both master accordion-makers and master accordion-marketers, are simply too quick for the others - especially in the latter category!

However, it's more than marketing, me thinks! I was watching Youtube yesterday and was shocked to find an accordion shop in Germany selling a Pigini Nova PA. It was demonstrated by a fantastic accordionist named Christine Herzog.

I listened to the first minute of the following recording (before Miss Herzog starts playing with different switches & styles). The music this lady played at the start sounded just heavenly to my ears (even if we make allowances for the recording/sound processing etc. this is undeniably a quality instrument). Erm, so good it doesn't sound like an accordion. Warm and tranquil, like a little organ played in a little country chapel surrounded by bluebells, with the gentle summer light beaming through the colourful stained glass. You get the idea... I nearly fell off my pew when I heard it..

I think this is a beautiful sound, really rare - maybe even better than a Gola.

I completely agree that (at least from all that I can tell in North America), that PIGINI is doing far superior marketing compared to other manufacturers. (Hohner... shame on you! )

I listened to the complete video more than once and then pulled up a couple of videos from people playing a Gola. Maybe my prejudices are peeking out, but I did not find the Pigini better, just different. After listing to several videos and moving back and forth, again, I could not say that the Gola was better either, again just different. Both were incredible, and while the Pigini sounded very clear, the Gola sounded smoother and silkier.

I wish I had a couple of videos of a latest generation Gola to hear, but with those prices being what they are, I doubt many videos are available. I know of one big deterrent, though... for the price of 1 Gola, one could have a couple custom made Pigini accordions made, and that alone is enough to make anyone think twice.

 

[Walker]

Perhaps @JerryPH I was being a playful scamp to suggest the Gola might have met its match... The vintage Gola is something very special.

What do you think of the new one? There are very few new ones on YT...

 

[JerryPH]

Why you playful scamp... lol (thats funny).

Hmmm... it really could be the recording quality, but its not impressive to my ears. What do you think? Also did I glance a lot of aluminum under the front cover. A sordina/jalousie from a wood base sounds a touch richer, I would guess, but what do I know... lol

Next year I am tentatively planning an extended accordion trip to Germany and Italy... I'll have a stop by the factory in Trossingen and have them prep a demo for me, if possible. I'll be in Munich this coming December for the Christmas markets but that's for a short vacation with family, I doubt I'll have the time to do many accordion related visits then.

 

[CC_PDX]

I would add one to the list

Tradfolk/Balfolk (Belgium/England/Breton) = Castagnari diatonic boxes



They are featured so often (>80%?) in those circles it is almost a given, with an occasional Salterelle and Serenellini. I see Lots of them in Irish sessions too. Almost as dominant as Steinway is in the concert piano world.

 

[Walker]

What do you think?

Thank you for asking Jerry...

Y'know, I've never been one for following the flock and as a result I have rarely wanted to settle on a brand of instrument that others, en masse, consider appropriate to a particular genre. For example, I am well aware that in Scottish traditional music the Hohner Morino is ubiquitous. But I never had a desire to own one and for quite a long time used to play a Cooperfisa Supercesare 507 for Scottish dance music. Not a hugely popular choice in my neck of the woods. Also, I was never into the 'full-Scottish' tuning - I always preferred a slightly more 'moderate' musette. So when I read the aim of this thread - about matching instrument brands/models to specific styles, I found it great fun, but it would not play any significant role in the instruments that I would actually choose.

So do I like the vintage Gola? Sure I do. Especially when hearing it played for baroque keyboard music. Now as I don't play in this style I actually think such special accordions are wasted on me. Indeed, I had a Gola 414, but realised quickly I really didn't need one to create the sound that I wanted to make. Nevertheless, others would surely walk 1000 miles to get one - and then convert it to musette - lol!

Same for the original Super VI - I've owned one and got great memories. I don't need such posh boxes though.

What do I think of the NEW Gola in the recording above? It might be incredible, but really you would need to go to the factory and try one in person, talk to the people and see the white of their eyes. Certainly the recording doesn't make me want to drop anchor and row ashore to the accordion dealer. That said - the aluminium jalousie is absolutely correct to match the 1950s and 1960s models.

Regarding the Pigini Nova Piano, I actually think it suits the 'organtone' switches particularly well. Really, I think it's incredible! (and has an incredible price tag too). However, I like hearing Miss Herzog playing that sacred piece on it - it would be totally wasted on me. I mean - don't get me wrong - I could knock a tune out of the accordion - no bother! but really it would be sledgehammer & walnut territory for my music! I suppose the cheeky wee Pigini free bass I have now is about right for me for messing around with counterpoint. I could go a 37/120 Pigini Polaris though, with musette tuning. I like the art deco look and I like the cut of Pigini's jib! So Jerry, if you have a windfall on the Canadian lottery, feel free to offer me a 0% interest loan for the box - I'm good for it.

 

[JerryPH]

Jerry, if you have a windfall on the Canadian lottery, feel free to offer me a 0% interest loan for the box - I'm good for it.

Let's just say that if I did win, you'd be on my list of people to make happy.

 

[Ventura]

" ... the aluminium jalousie is absolutely correct to match the 1950s and 1960s models..."

mine has a wood sordino, very delicate and a work of art in it's
own right as well as an engineering marvel.. and far more intricate
than others i have seen with wide slats and large holes/squares

mine works from end shifts as opposed to the separate grill knobs

not sure the exact date but Gola was alive and running the company/division
and personally set the specs on this box
(custom order from a politically connected elite)