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In honor of the petosa 100 Year Anniversary,
we are pleased to announce the forthcoming publication of

AN AMERICAN ACCORDION STORY
A Four-Generation Family Legacy Honoring the Accordion,
the Musicians, and their Unique Places in American Culture 

by Joseph Petosa Jr.
petosa accordions, 1922-2022

Published by American Accordion Press
Limited First Edition, signed & numbered, $35
Coffee Table format, 128 pages, hardbound, 380+ photos

Available June 2022

Pre-Order
April Newsletter

 

Business Hours:
Wednesday - Saturday  10am to 5pm
Private appointments available Tuesday
Closed Sunday/Monday

see google for special holiday hours

Artist Spotlight: Willo Sertain

 

Accordionist and chief melody-maker for the band Three for Silver hails from the woods of North Carolina. Sertain sings compellingly in at least a dozen languages, from Greek to Tajik, and sometimes even in English.

Her distinctive pure tones, haunting pathos, and calm demeanor are a natural foil to the madness of Warford. Three For Silver is an aggressively original band that is impervious to easy description. PR people often use phrases like Mythic Americana, Doomfolk, or Apocalypso. Some of those are pretty good, but they still just feel like the desperate necessities of someone forced to fill out a  form box labelled "Genre".

​Three For Silver features one-of-a-kind instruments you've never seen playing styles mixed in ways you've never heard. Perhaps it is pop music from an exceptionally dark parallel dimension. The band has hit the road since 2013, and their monomaniacal devotion has already led them all over the USA and the world, from Accordion Festivals in Vienna to Modern Music Expos in Russia, and even partnering with the US State Department for ongoing cultural exchange tours to countries thirsty for truly original American music.

Q:  What inspired you to start playing the accordion?  

A:  I was playing melodica in a klezmer band, hitchhiking through Mexico in 2007(8?). In the jungles of Palenque the intense humidity really took a toll on that little instrument and the reeds ultimately molded and corroded beyond repair.  We had a show that coming Friday so the violinist of the band went out and bought me a little Parrot accordion. I just started by playing my melodica parts on the keyboard and it grew from there. By the end of the tour I was completely in love with the accordion, even though I never really set out with the clear intention of being an accordionist. When I got back to the states that year I signed up for the Mendocino Balkan camp. I attended Raif Hyseni’s Albanian accordion workshop there. I think everyone in the class had been playing at least 7 years or more and Id only started in the past 6 months. I was in way over my head with that class, but I recorded the whole thing and over the next year just listened to in on repeat all the time. I basically taught myself how to play the accordion from that recording of Raif’s class. 
Over all, the accordion was more like an event that happened to me and consequently shaped the better part of the last 2 decades. 
 

Q:  You have played Balkan music with the bands Macaulay Balkan and Underscore Orkestra. What got you interested in this style of music? 

A: So, I first really became aware of Balkan music before I ever picked up an accordion. In the early 2000s I was living in Asheville NC and my social circle was going through an evolution. There began to be a lot of crossover with this sort of anarcho-acoustic-folk-punks. I moved into an old dilapidated mansion in the historic district with about 9 other people, most of which all played some kind of instrument, mostly violins and accordions, and all the time were just raging to bands like Taraf de Haidouks , Fanfare Ciocalaria, Csokolom, and watching movies like Underground, Black Cat White Cat, Baraka, Gaidjo Dilo. I was playing guitar mostly at that point and was really into early 1920s-30s New Orleans jazz, but was immediately in love with this eastern European music, really fascinated by the accordion, but not seeking out how to play one. I had one friend in this house who was particularly inspiring though.  We were both obsessed with this same kinds of music. She would practice accordion by the fire at night, was learning all these amazing, heart -wrenching klezmer songs with one of the violinists that also lived with us. I would fall asleep listening to them play this music almost every night.  This all was like a foreshadow for my future.  About a year later I had moved from NC, was staying with friends in Oakland and trying to figure out what was my next move.  I randomly ended up going to a festival in Cougar WA.  Several of the ex-housemates from Asheville were there amid an extended family version of the scene Id been living with there. So many wonderful weirdos playing epically beautiful music on wacky instruments. This festival was really when my path trajectory started to shift. I joined the Underscore Orkestra….literally ran away with the circus! I fell in love with a swing-manouche guitarist playing on a trapeze, then jumped on the big green vegetable oil powered school bus and started playing Balkan, Klezmer and Swing manouche on the melodica. This is when the above Mexico story happened and I actually began to play and perform with accordion. Everyone in that group all seemed to share an uncompromising love of the sound of Balkan music and wanted to learn as many songs as possible. We also all shared this deep necessity to keep moving. Going on adventures and playing music was, and very much still is , the be-all end-all of the life. 
After about 9 years with Underscore, touring the US in a variety of busses, and multiple hitchhiking adventures through eastern and Western Europe, I started my current band Three for Silver with Lucas Warford. He had been in Underscore as well for a time and here we had begun to write music together. I really wanted to have a band that played more original compositions and he and I shared a good musical chemistry and had a lot of the same goals. It was a natural transition. Underscore relocated to Ireland and Three for Silver began to home base out of Portland OR. Lucas and I started the band Macaulay Balkan as a side project because we both really missed playing the more traditional tunes, even though we didn’t want to prioritize that style in our main project. It was a really fun band, that unfortunately got left by the wayside as Three for Silvers schedule became more and more rigorous.  

Q: Your main and most current project Three for Silver has been described as Mythic Americana, Doomfolk, and Apocalypso.  You guys have been together 9 years and have created 5 full length albums. How do you think your sound has evolved over the years?

A: Yes, the question of “what genre is Three for Silver” is one who’s answer seems to be constantly evolving.  In the earlier days our sound was definitely more pulling from some straight forward traditional styles, though we never intended to be technically traditional in our performance. The desire to create a more theatrical show, with a very strong emotional arch has been a prevailing intention for this band. The sound has certainly evolved as we hone that intention down more and more. We keep developing our repertoire to remain versatile, so we can play a wide variety of venues, but still maintain this Three for Silver sound that sonically describes the world that we are trying to create. When you come to a Three for Silver show now Id like to think that its a bit more transportive than in earlier years when we were just playing one song after another. We love to create blocks of time where songs are medlied together into these 15 min arcs. We still include folk tunes from the musical cultures that have lended so much inspiration to us, and like to put a lot of energy into doing justice to the emotive quality of these songs. I think the evolution of Three for Silver has grown in intensity and atmosphere to create a more sophisticated transformation of energy into sound. 

Q: What is the best advice you have received about playing music? 

A: The best advice for playing music I have received was probably to just book shows, even if your not feeling ready to perform. Its so easy to put off booking yourself or promoting yourself because you think you need more rehearsals or to expand your repertoire or your website isn’t ready.  If you go ahead and book those shows you have a definite deadline and its amazing how fast that set list fills out. It think its good advice if your battling procrastination. It can help give yourself that extra gumption to start getting out there and playing.  
The other great advice I've gotten is to just say “yes” to everything. Especially when your just starting out. Someone wants you to come play at some random place or for some weird event, just say yes. You don’t know what that will lead to. I can’t say how many times I've met some crucial contact for a future gig, or made an amazing personal connection from situations like this. Just this past week we were asked to play at a random backyard bbq in Dachau Bavaria. We had no idea what to expect and it turned out to be so fun, amazing people, tons of new fans, super lucrative, when it would have just been a boring day off. So, just say yes.

Q: Three for Silver is about to tour Germany, Austria, and Czechia.  You've partnered in the past with the US State department for cultural exchange tours. What are these tours like and is this part of one of those tours? 

 A: Currently Three for Silver is on tour in Germany, Austria, Denmark, Switzerland, Czech Rep, and Poland. This tour is through ROLA booking out of Vienna Austria. This is our 5th tour with ROLA and are already booking fall 2022 and spring 2023 with them. ROLA reached out to us after our release of The Way We Burn , Three for Silvers 3rd full length album. They wanted to give us a shot touring in their region, so we said yes and it turned out to be a really good fit.
The state department work is separate from our work with ROLA. We landed that amazing opportunity through the Portland/ Khabarovsk Sister City Association. We were elected to go perform in Khabarovsk Russia for their day of the city celebration and it was through these performances that we me members of the U.S. State Dept. in Vladivostok. They invited us to come to Vladivostok to participate in one of their cultural diplomacy programs. In this capacity we toured through the local region, visiting schools and city administration, performing concerts, giving some lectures and master classes in school, mostly just about being a professional musician, our song writing process, giving demonstrations of the different types of music that inspire us and how that translates to our original compositions and doing a lot of Q&A. That first program went really well. Partly because we are easy to transport around, an acoustic trio is much easier to move than say a big rock band or larger jazz or classical ensemble. That first program went really well and we ended up returning to Russia 3 more times for longer tours, visiting some really remote villages. We also were recommended to other state departments and ended up visiting in Bulgaria 2018 and Tajikistan in 2019. It was the type of experience that really lends towards a perspective shift. I had never really given much thought before to a lot of the places we were visiting, and here I am representing America in this way, being the first American a lot of these people had ever met. It was pretty humbling in a lot of ways, very eye opening. I had many young women specifically come up to me and express this kind of intrigue towards the fact that I am a women playing the accordion, or that I was traveling at all and being a musician as my profession outside of the classical music field.  

 
Website

 p e t o s a  AM-950

ft. accordionist Jamie Maschler
THE ACCORDION The AM-1100 has given birth to a new generation: the AM-950 – born 2021. Handcrafted with the same world-famous genetics of its predecessor, the AM-950 is a uniquely compact, ultra-powerful & dynamic instrument for all generations of professionals. Featuring our exquisite solid Mahogany double cassotto, finest petosa handmade reeds, 5-ply Mahogany box & Mahogany reed blocks, 36 full-size Walnut treble keys with lucite keytops, and completely insulated & ultra-quiet bass mechanics. This 22 pound masterpiece covers a wide array of genres while boasting an intense depth of sound and attitude.
*currently Sold Out, new productions available Spring and Summer

www.petosa.com
Performance by: Jamie Maschler www.jamiemaschler.com
Song Title: Sem Segrado
Written by: Camarão
Video Recorded by: Ryan Jorgensen @jorgievision
Sound Design by: Creosote Duo & David Lange
Website
The Heart and Soul of an Accordion - by Joe Petosa

a perspective from an accordion manufacturer and reed maker ~

by Joe Petosa Sr. ~ petosa accordions 

Many people have an interest in accordion reeds. Reeds can be referred to as the heart and soul of an accordion; however there are other factors to consider. This mini-series will describe what reeds are, the benefits of improved quality, and the other additional factors that affect the reedʼs ultimate performance.

Episode Two: Reed Fundamentals

Reed material used for the grades defined in this article are made of quality Swedish Blue Steel, known for its characteristic blue tinge after the steel has been treated. Swedish Blue Steel is a specific type of spring steel known for its flexibility and lasting vibration quality. Reed quality is broken into three major categories; Machine, (Voce a mechanica), Hand-Finished, (Voce tipo a mano) and Handmade. (Voce a mano). Within each category there are variable qualities determined by the materials used, but mostly dictated by the skill of the artisanʼs craftsmanship. For example, there are some machine reeds that can be considered better than some hand-finished reeds, and there are even hand-finished reeds that can be considered better quality than certain handmade reeds.

Think of the accordion as a vibrating machine. The more dense the material and solid the surface, the better the vibration. Since the accordion is made of many different components and materials, the challenge is then to create the best acoustic environment surrounding the reeds to enhance their vibrating tone. This article is not intended to offer specifics on every detail of manufacturing, but to outline a broad overview of general principles. These principles can be used as a guideline when purchasing an accordion and to better understand the quality differences between various accordions.

Reed quality is the single item within an accordion that will affect the cost of an instrument the greatest; however it is by no means the only determining factor of value. The manufacturing rule for pairing what quality of reeds fit a given quality accordion is: “The cost of complete finished reed assembly should be minimally equal to roughly thirty percent of the price”. Therefore, today the cost of a standard quality 41 treble note 4/5 set reed accordion using genuine Handmade reeds will be around $9,500 plus. Other attributes such as reed leather material, pre-tuning, and quality of final tuning can increase or decrease this percentage. It doesnʼt make much sense to produce a low quality instrument with high quality reeds or vice-versa, so be careful if the price and expected quality of reeds donʼt match. Knowing the quality of reed is important if you are to understand the reasonable expectations of performance and longevity for each accordion. Later in this article we will explain that, although the reeds are the Heart and Soul of an accordion, great reeds alone do not make a great accordion; just as the best violin strings donʼt make for the best violin...

Continue Reading
petosa 100 Year Celebration: Vintage Video Series
From the petosa accordion archive, this performance is an excerpt from the 2005 petosa Accordion Extravaganza concert. Pete Barbutti is an American comedian and musician. He made 15 appearances on The Tonight Show Starring Johnny Carson, from 1971 through 1992. In the early 1980s Barbutti also hosted a variety show called Pete's Place.
NWAS Website

Reunion of Friends Concert


May 7, 2022 | Doors: 7 pm | Show: 7:30 pm EDT 638 North St. Lafayette, IN
Watch Party of the Concert Video – June 12, 9:30 pm EDT

Reunion of Friends is a one-of-a-kind concert featuring the wide-ranging talents of singer- songwriters-arrangers and entertainers Scott Greeson, Vickie Maris, Michael Kelsey and Courtney Von Drehle. 

If you are not able to attend the concert in person, the show is being recorded and a video Watch Party is scheduled for June 12th at 9:30.
Tickets
Tickets

Save the Date for The Leavenworth International Accordion Celebration

Leavenworth Accordion Celebration is scheduled for June 16th-19th, 2022
Festival will be in person with performances and workshops. Check the LIAC Website for the most up to date information. 
LIAC Website
CNIMA USA TEACHING TOUR 2022

New York City:  May 25th - 3 Hour Masterclass
New Orleans: May 31st - June 3rd - 4 Day Immersive Workshop (for all levels!)
Seattle: June 5th -  3 Hour Masterclass
Los Angeles: June 7th - Demonstration only - no instruction
 
Jacques Mornet and co-teacher Nathalie Boucheix are coming to the United States to do 3 learning events, coast to coast. For piano accordionists and button accordionists. For beginners, intermediate, and professionals. For all styles. It is TECHNIQUE.  
Tickets

Featured Certified Pre-owned Accordions

Certified Pre-owned: Weltmeister Supre 37/96 LMMH w/ Handmade reeds & Harmonik AC 501-HQ   $3995

Like new, this one-of-a-kind Weltmeister Supra features upgraded handmade Voci Armoniche treble & bass reeds, Harmonik AC 501-HQ amplification, and a versatile LMMH tremolo (MM+5) configuration.
Made in Germany
More Info
Certified Pre-owned: Sonola AA3   $1995

An original Sonola AA3 featuring an all-wood keyboard, all-leather reed valves and sliding grille mute (open/close).  Made in Italy
More Info
Certified Pre-owned: Arpeggio 19 3/8"   $2495

Lightly used and in impeccable condition, this Certified Pre-owned Arpeggio features a standard, full-size keyboard, 4/5 sets of hand finished reeds and amplification.  Made in Italy
 
More Info

petosa accordions | 206 632 2700 | petosa@petosa.com
19503 56th Ave W Ste B Lynnwood, WA 98036     


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January Newsletter

 

Business Hours:
Wednesday - Saturday  10am to 5pm
Private appointments available Tuesday
Closed Sunday/Monday

see google for special holiday hours

Special Centennial Edition
Artisan Spotlight:
Joey Petosa

Born in 1988, fourth generation Joey Petosa III follows in his forefather's footsteps. After graduating from University of Washington in 2010, Joey joined the family business after years of learning the trade on weekends and in between athletic events. Having played accordion since he was 5 years old, like those before him, Joey appreciated the historical significance of his family's business as it was always a substantial part of his life. After college, he devoted himself to optimizing the family business in a new and modern era while continuing to perfect the production of all petosa accordions.

Q:  You are 4th generation Vice President of a 100 year old accordion company; what was it like growing up in this family tradition? What was your grandfather, Joe Petosa Sr. like?  

A: Some of my earliest memories in early childhood were spending long days at the Seattle shop.  I was everyone's little helper, going from one department to another bothering my uncles and staff to give me projects.  The highlight of my days there was sitting down for long breakfast and lunches with Grandpa P (Joe) and Grandma (Laurie).  It wasn't long before I found myself spending the majority of my time at the workbench with Julio Bugari, our lead technician and my father, Joe.  I had no idea the extent of which my days spent in the shop, with my father and Julio, would affect my interests later in life and ultimately set the foundation for where we are today.  

My Grandfather, Joe Sr., was a man of profound integrity and wisdom, like many of those from his generation.  He seemed to stand 10 feet tall and was my guru that had all the answers, all the good questions that made me feel like I was the only kid on earth, and all the love that kept me pleading with my father to take me to work with him.  My Grandpa, a former athlete, and I shared our first love of baseball together and would always look forward to our sports talk over a meal.  Even as I write this, I am reminded by these recollections of how deep he helped set my roots in athletics, education and our family business.  I will always treasure the memories with my Grandfather, and I miss him dearly.  
 

Q:  How would you describe the current workplace dynamic working with your father?

A: Every father/son workplace has its challenges, and we are no different.  That said, I am fortunate to have a father that is supportive and encouraging, to say the least.  From the days of my younger self seeing my family business unprepared for a digital age and my father's original, understandable reluctance for serious change, it is fascinating to see how far we have come.  Now I am able to see the beauty in it all; the reluctance kept my crazy ideas in check, while my constant drive for innovation pushed my father to realize new possibilities.  Sort of the way our politics once operated; two separate philosophies on different ends of the spectrum that come together to compete for the best ideas, resulting in the most reasonable and effective solutions.  Thankfully one of our strengths is communication and an abundance of love and respect which has allowed us to grind through tough decisions while putting it 'all on the table'.  It's funny how we have both exchanged some ideals in the process; as the years pass, I find myself becoming more of a traditionalist, making 'safer' decisions while my father is more than ever open to change... evidence that we are still learning and making each other better day in and day out.  

Q: As a business owner, what are your typical responsibilities?

A: We all wear many hats, and my first responsibility is to acknowledge my love and appreciation for our team as a whole and every individual that helps make it a success.  I am merely one piece of the puzzle and if any piece were to go missing, it would be irreplaceable.  

I could list a small book's worth of responsibilities as any business owner can relate to, instead I will simplify by saying that I do everything from designing and implementing new production models, supporting customers across the globe and managing our ecommerce and service facility to cleaning the toilets and taking out the trash... and of course, everything in between. 
 

Q: Accordions are complex instruments with over 5000 parts on the inside; how long does it take to make an accordion start to finish?  

A: As an artisanal producer, our instruments take longer to produce than the average Italian-made accordion.  Much of that additional production time consists of doing nothing at all; letting our fully cured woods dry and acclimate inside the factory for several additional months, just to be sure it has fully cured and will not change shape after production.  The other time-consuming aspects have to do with our construction practices.  For example, the AM-1100 model has a solid all-walnut keyboard, which is much more painstaking to build than a standard wood key with brass guide, and materials are more scarce.  Another example would be the Artista Pro series; a solid Maplewood cabinet is also more painstaking and requires a substantial degree of precision and care.  Imagine, the solid wood sharps/flats are cut from the same Maple tree as the rest of the accordion, then treble and bass registers, then the grille, and so on.  These are raw wood finishes with only a stain and/or clearcoat, so any imperfections in the wood will be exposed.  All of our chambered accordions are built with a solid mahogany tone chamber, much more costly and time-consuming than plied or aluminum construction.  Our bass mechanics are specially designed for sustainable, quiet action.  Instead of efficiently installing the fulcrum rods with space between, we choose to take the extra steps of chroming our mechanisms and building the fulcrum rods as closed together as possible, resulting in a mechanism that does not move over time and becomes more mechanically noisy.  This is why you can see a 60 year old petosa that needs no bass mechanism work other than cleaning and rake alignment.  I could go on but instead will keep it short and simple. 

Q: You’ve recently designed and created some exciting new models, the AM-950 and a new Petosa line Americana; what developments in the accordion industry led you to develop new models and what needs do these accordions meet?

 A: Over the last 15-20 years we have seen a steep rise in demand for more compact accordions.  A lot of the music today simply doesn't require a 41/120 configuration, although there are still plenty of genres that do.  Therein lies the motivation for the AM-950 model - a concept derived from the accordion that helped shape our entire company; the AM-1100.  Of course, being a 36-key/96 bass configuration, we knew it was not possible to create the same volume and power as the AM-1100.  Then came along a profound innovation: a new artisan concept for producing reed blocks supplemented by some modern technology.  In short, with the help of our factory manager and renowned artisan, Gianluca Gobbetti, we were able to design a reed block that optimizes cavity dimensions for optimal air regulation, resulting in increased response, sensitivity and power.  This innovation allowed us to produce the AM-950 model in a way that we are very proud of; a 36-key accordion with more power and resonance than most 41-key full-sized instruments.  This is one that needs to be played in order to appreciate what I am saying.  

The addition of our new line called Americana was a project in the making for a number of years.  We have always been aware of the naive criticism that often circulates stating that 'petosa is too expensive'.  This may be true for many, maybe even most, but there will always be those that simply want the best possible tool on the market.  The creation of the Americana line sprouted from this understanding, and in turn we realized that we may be missing out on the opportunity to reach those that find themself not needing the best or highest possible quality, yet still want high quality and an affordable price point.  The Americana is just that.  Combining many petosa-esque materials and a special combination of reeds to meet the perfect quality and cost balance - the Americana brand is consequently the highest quality instrument at its price point.  It has been a huge success for us and the players that choose to own one, offering consistent craftsmanship and a 100 year old company to stand behind it.
 
 
Q: Within the last 5 years the business moved from its long-term residence in Seattle’s downtown University Area to Lynnwood, WA.  What prompted the move and how are you liking the new space?

A: After 62 years in the only location my father knew, one can imagine this being a topic of debate when I proposed a relocation.  Our Seattle facility was designed for our needs beginning in 1955.  Needless to say, our needs changed over the course of many decades and a new, larger and more efficient workspace was needed for our growing business.  After some convincing, my father and I decided to find a space that was a bit more off the beaten path, one that would facilitate visitors from around the world while being convenient enough to commute to on a daily basis.  We ended up in Lynnwood, WA, about 15 miles north of our Seattle facility.  The move and new buildout was strenuous, but collectively we made it happen and I can say it was one of the best decisions we have made to date.  We now have a beautiful showroom, office, shop and much more room for inventory.  I like the fact that we are a little hidden; only folks that want to visit will find us :)  

Q:  What plans do you have for celebrating the centennial of petosa accordions?

A: I don't need to tell anyone how the pandemic has affected our daily lives, and it certainly has affected our plans for our 100 year anniversary celebration.  We have decided to forgo an official celebration in a physical manner, although we will be welcoming visitors to join us at the Leavenworth International Accordion Celebration and may find a window to do something at our Lynnwood location if the pandemic allows.  

We have no shortage of new and exciting things happening this year that have been in the works for some time, such as the introduction of our new patented BlueStar reeds and reed block construction, new models for petosa and Americana, special 'Centennial Edition AM-1100 series', a new Proxima digital accordion, media content that will be released throughout the entire year, apparel, a very special and historical book and much more.  Stay tuned for more details!

Q:  Where do you see petosa accordions in the next 10 years? Next 100 years?

A: That's a fun one... The possibilities are endless, and my two children, Mila (7) and Jack (2), have shown interest in playing the accordion as their primary instrument - believe it or not, Mila decided this for herself thanks to some great teachers and role models in Jamie Maschler and Gabe Hall-Rodrigues.  I wouldn't be surprised if one or both of them decided to join the team in the future, at which time I could pass down my bathroom cleaning duties ;)  For now and in the near future, we have plenty on the plate and foresee the next decade being one with more technological advances and innovations that will continue to propel our family business into a successful future.  

 

 p e t o s a  Artista Pro

ft. accordionist Gabe Hall-Rodrigues

THE ACCORDION Old-World tradition becomes an Artisan Masterpiece. . . The Artista Pro is inspired by the creative professional accordionist. An elegant style that is designed for the most demanding accordionist. The aging process of our maple creates a unique timbre quality within a class of its own that will endure generation after generation. Stunning beauty and an unsurpassed warmth and resonance are the hallmarks of this fine instrument. Individually and uniquely handmade, the Artista Pro is limited in production and distinctively one-of-a-kind.

View Catalog

Song Title: Rua do Farol
Written 
by: Gabehallrod@gmail.com
Video Recorded by: Ryan Jorgensen @jorgievision
Sound Design by: Creosote Duo & David Lange Studios
creosoteduo.com / davidlangestudios.com
Website
Live Music and the Museum: Accordion Blend

Tomorrow, January 23rd 3-4pm CST, Stas Venglevski, Brett Jones, and Derek Bromme will be presenting Accordion Blend at A World of Accordions.

The recording of this concert will not be available afterwards so you need to attend in-person or by livestream if you want to hear it.  Register for the livestream Below.

Register

Save the Date for The Leavenworth International Accordion Celebration

Leavenworth Accordion Celebration is scheduled for June 16th-19th, 2022
Festival will be in person with performances and workshops. Check the LIAC Website for the most up to date information. 
LIAC Website
Day of the Accordion

 February 26th 1pm-6:30pm
February 27th 3-6pm

Crossroads Mall 
15600 NE 8th St, Bellevue, WA 98008 More Details on the NWAS website
NWAS Website

Featured Certified Pre-owned Accordions

Certified Pre-owned: petosa Little Pro (26/72 LMM) $3950

2020 Certified Pre-owned Little Pro featuring a custom grey woodgrain paint finish, 26 full-size treble keys (20mm), 72 bass buttons, 3/4 sets of Voci Armoniche Tipo a Mano reeds and the most compact size in the petosa lineup weighing only 14 lbs.  Lots of power in a small package...
More Info
Certified Pre-owned: Giulietti Stroller "T" (42/126) $3495

 

A unique accordion with serious capability, in impeccable condition inside and out. The Giulietti Stroller T (Transformer) model features 2/4 sets of handmade reeds, Ernie Felice Jazz style Cassotto, 3 row Bassetti free bass / 2 sets of reeds, extended solid-walnut keyboard (42 keys), double tone chamber (LM), dynamic stereo amplification and more.. 
More Info
Certified Pre-owned: Weltmeister 703 Romance 'C'  $1795

This Certified Pre-owned Weltmeister Romance 703 is in great condition and built for value; made in Germany.    
 
More Info
Petosa Artist Accordion Playlist
Enjoy this curated playlist, hours of accordion music played by various artist.
YouTube Playlist

petosa accordions | 206 632 2700 | petosa@petosa.com
19503 56th Ave W Ste B Lynnwood, WA 98036     


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