|A lukewarm public
Ingenious and well-made, the accordina is not that successful, contrary to what we could think today.
Borel and Beuscher are probably partly responsible for it, as they introduce it as a travel accordion, a training instrument.
Basically, a gadget.Second mistake: they targeted a public of accordion-players, entirely excluding the wind instrument field. As weird as it can seem, this misunderstanding remains today; Francis Jauvain, who is a saxophonist, accordion-player and experienced accordina-player, testifies: “I consider the accordina as a wind instrument, it is even one of those rare ones which allows polyphony. If you think of it this way, it requires a specific technique. For example, he accepts blown air only; therefore the inhalation must be rhythmic to integrate with the musical sentence.
Something which is hardly conceivable,
if we think of it as an accordion ersatz.”. Jauvain continues his researches about the accordina, in order to “develop it as we would for a peculiar unique instrument.".
He concludes that there is a vital need for the accordina not to be “reduced to the accordion-players ".
Victim of this reception, the accordina left only few traces: the only old recording left is André Astier’s 45. On the contrary, today, Richard Galliano, Francis Jauvain, Daniel Mille, Jean-Louis Matinier, Roland Romanelli or Jacques Bolognesi use it to explore numerous musical universes: jazz, French songs (Moustaki, on tour, preferred Jauvain’s accordina rather than the traditional accordion.), movie soundtracks (Romanelli recorded Alexandre Arcady’s next movie soundtrack with the symphonic orchestra in London.), contemporary music (Jauvain conceived five creations for the choreographer Régine Chapirot, which show the accordina on stage in improvised sessions with the dancers.)
The differents models
Along its history, the Borel accordina knew different shapes. The funniest thing is that it seems it never appeared the way it was patented : like explained by Laurent Jarry, the patent of the instrument is quite different from what Borel made. The reeds are not planned to be single-chassis but they were assembled on plates. A mechanism is planned at the bottom of the instrument to activate both side shutters by a sort of button .
A mechanism is planned at the bottom of the instrument to activate both side shutters by a sort of button ". We can see changes,"