Portrait of Peter Jalkotzy, the man behind A Mechanical Symphony

In our Classic Trader Portraits, we regularly introduce you to selected classic car dealers and people from the scene. This time with Peter Jalkotzy, the man behind A Mechanical Symphony.

Please briefly introduce yourself. What are your professional fields and areas of expertise?

Good day and thank you for this opportunity, I am honoured to be your guest. I am a natural-born Canadian, born to Austrian parents. I grew up in Northern Ontario in a small mining town, with a strong connection to nature and wildlife. I hold a technical training in wildlife biology, supplemented by a certificate in environmental law. My career has centered on environmental impact assessments and a broad range of development initiatives around the world — in transportation, energy, water, buildings, and land development. I have always had a keen interest in energy — how we produce it and how we use it. Did you know that in the U.S., more than 60 percent of generated energy is wasted? The issue isn’t that we lack energy; it’s that we lose too much in the process. To address that, I launched NextGen Power Group Ltd. in early 2020. NextGen is an energy-technology project developer and advisory firm specializing in practical, forward-looking clean-energy solutions.

How did you first become involved in the vintage and classic car world? What motivated you in the beginning?

I believe it began with a small-scale Ferrari F1 model car I had as a child, from the late 1950s or early 1960s. That toy came with wrenches — I could remove the wheels, open the hood, and turn the steering wheel. Later, my mother won a Lotus F1 pedal car in a hospital raffle, and I drove it everywhere I could — even down the hallway in our house. My father purchased a new Mustang every year between 1964 and 1970, replacing his Karmann Ghia. Those experiences were truly formative for me.

My passion for cars — and mechanical things more generally — has always been strong. I adored dismantling objects and reassembling them. It was a lot of trial and error. Even simple wrenching and preventative maintenance have always brought me pleasure.

Perhaps most importantly, I have always been amused by the irony of having a career focused on nature — while harboring a passion that seems almost contradictory. I deeply love nature, yet I also thrill at the visceral scream of a 412 T2 V12, such as heard down the back straight at Monza with Jean Alesi at the wheel in the 2025 Italian GP. Simply put, that dichotomy is who I am.

What was the key moment or inspiration behind founding A Mechanical Symphony? Was there a particular car, event, or experience that sparked the idea?

The answer might surprise you — the origin is not strictly car-related. In the late 2000s, I decided to develop an online presence for myself — Peter, the energy-environment guy. My goal was that when someone thought of energy and environment, they would think of me. Concurrently, I had long harbored a deep interest in the classic and collector car markets. That interest crystallized in 1985 when my friend Nic Iozzo and I founded Specialty Motorsports Inc. and Corporate Motor Leasing Inc. It was a period of adventure and discovery in my twenties, including the realization that I loved the cars themselves more than the sales business: making money, losing money, but learning enormously. As I refined my professional online strategy, I decided to combine it with my passion for cars — and thus A Mechanical Symphony was born. Incidentally, my personal/professional page now has nearly 11,000 community members. Meanwhile, A Mechanical Symphony has surpassed 22,000. Might that be a sign?

Your work is highly visual and curated. How important is design, atmosphere, and presentation in the way you communicate automotive culture?

Thank you for your kind words. I believe that, in many aspects of communication, predictability, insightfulness, and accessibility are primary goals. As a highly visual person, I enjoy viewing things through images. Therefore, I have endeavored to adopt a simple model: pairing excellent photographs with deeply informative text. Each post follows a consistent and recognizable format. The quality of the images is paramount — as is the quality of the writing. Each must meet a baseline standard that the site enforces.

While my immediate interest is in the car and its attributes, when cars are listed for sale, on whichever platform, the quality of the images and information is critical to the value achieved. It continues to astonish me how poor some efforts are, and I think that it really affects the hammer price.

You work with an international clientele. How do expectations differ between collectors from North America, the Middle East, and Europe?

Car collecting has certainly become a global business. In simple terms — and something I advocated early on — customer service is everything. Personalized service is paramount. Even in 1985, we broke new ground by giving access to cars less known in the market. Today, I continue that mission — bringing into view what others may not see. There are already many reputable services and providers offering excellent access to what has become a new asset class.

I don’t believe there is a strong geographic pattern in collector behavior. A collection is a deeply personal expression unique to each owner. Each collector is shaped by individual values, experience, and desires. Ultimately, cars evoke emotion in many, and those emotions are triggered by a broad spectrum of stimuli. The classic-vehicle market spans over a century of automotive history — and that alone is remarkable. But the fundamentals of customer service endure: honesty, integrity, responsiveness — always treat people with respect and kindness. Most customers appreciate that. And if someone does not, perhaps they simply aren’t the right customer.

in A mechanical Symphony You deal with both classic cars and modern super sports cars. How do you see both markets evolving? Are there parallels or are they diverging?

The classic and contemporary car markets are similar but different. I think the similarity is car ownership and the experience that it delivers. The difference is that they can deliver very different car experiences. Whether classic or contemporary, this applies. But I believe that everyone’s collecting values are individual, unique to that collector and that collector only, as I already noted. There are collectors that cross these various boundaries, but in each case, their collection continues to express their particular interests.

I think a big driver in collections is linked to the individual collector’s experience and motivation. For many, it is the car they never had, or one they sold when they didn’t want to. Classic and modern cars each deliver their own experience; they are similar but different.

You have in-depth knowledge of the auction business. How would you describe the current global auction landscape and its significance in the classic car trade?

The auction business has evolved considerably, along with the cars themselves, in the last decades. With the onset of the pandemic in 2020, the demand for online auctions exploded, and since then, additional platforms continue to look for market share. In terms of significance, the access to available products has increased monumentally. The world has become, in some senses, a truly connected marketplace. That said, transportation and insurance costs can be significant for relocating a car halfway around the world, where the potential risks associated with that journey are high. What has not changed is the value of proper and qualified due diligence in your acquisition. It is still the car business. Expect the unexpected.

How do you assess the role of digital platforms like Bring A Trailer and Classic Trader in the classic car market? Are online auctions becoming a standard sales format for high-value vehicles?

I think the best suited platform or pathway to acquiring your dream car is also quite individual and personal. Many insist they will only buy an off-market car – I’ve honestly never quite understood that claim – is it for sale or is it not for sale? Some still do not trust the online auction market. Buying cars, sight unseen? Really? While I might never have recommended that in the past, with the almost unlimited reach of today’s online marketplace, the options for buyers have also become limitless.

Will this be the standard sales format for high-value vehicles? It definitely fills a particular niche. And with the ongoing success of various platforms, including Classic Trader, their presence in the marketplace has developed very solid footing. However, I think sales platforms and approaches to sales need to be diverse, and likely will continue to evolve. As we see in some other businesses, a return to brick-and-mortar physical stores is emerging. Regardless of your market share and reach, a physical store, on the ground, with inventory is gaining new appeal. Perhaps this also reflects the evolution of global travel. It is much easier to access different parts of the world now than 40 years ago.

Are there any notable trends you observe – in value, interest or accessibility – for either classic or super sports cars?

There is an important trend unfolding and has been for the last couple of years: demography. Simply put, the global population is aging. The cohort that was most active in classic and collector car markets is thinning out, and perhaps even exiting the business altogether. Meanwhile, the buyers coming up through the age ranks to fill their shoes represent a much smaller demographic, and thus a smaller market. Smaller markets mean more competition. More competition means competitive pricing.

You’ve likely heard it referenced before: Boomers vs Gen X and Z. What has this meant in the marketplace? The cars of the 80s, 90s and 00s are seeing increased activity, and indeed some truly wild valuations are emerging. Monterey Week 2025 was quite the spectacle. Some have said that Pre War and blue chip sportscars have lost their luster. I’m not sure that is true. The California Competition Spider was a clear example of quite the opposite. As classic and collector cars in general, a new asset class has been established and cemented into history for now. Will the momentum continue? I think so. There is something very primal and deeply meaningful in our ongoing mobility, and in our history and future of such.

What has been the most extraordinary car you’ve ever worked with or represented?

My most resonant physical engagements are the open‑wheel race driving programs I have participated in. I dream of race driving — a lot. Those racing experiences are some of the best moments of my life.

In terms of exceptional and memorable cars, a couple stand out because of their placement in my car related history: a 1964 Ferrari 250 GTL Lusso (1985) and a 1971 Ferrari Dino 246 GT (1986). One sale was never completed and I still regret it; the other was completed, and I also regretted it. Perhaps it has something to do with having difficulty letting things go, ever.

Do you have personal favorites when it comes to marques or models? Which three classic cars are most dear to you, and why?

To be clear, I am not an active collector — unless you count 1:18 scale models. Above all, I see myself as a curator and storyteller, conveying the history, emotion, and context that imbue cars with meaning. As I like to say: if it’s fast, I’m interested.

In terms of brands and marques, my passion has few bounds. Ferrari appeals to me especially — likely because of my early experience with the F1 model car. Ferrari is iconic, with a compelling story — though that praise applies to many manufacturers beyond Maranello.

My strongest preferences lie with earlier cars — from the 1950s MM models to the 1970s 365 GTB/4 and BB series. Nonetheless, my interests are broad: early sports cars of the 1920s and ’30s, muscle cars of the 1970s, and modern iterations of today’s supercars. There is so much still to explore and discover. As for my daily drive, I’ve long been a BMW enthusiast — from the 2002 era to the M series — and I admire their driving dynamics.

If I were to pick three, they’d all be Ferraris: the 1962 250 GT SWB, the 1966 275 GTB/4, and the 1969 365 GTS. Indeed, a 1962 GTO or a McLaren F1 might top that list — if only they were not so entirely unattainable.

In your opinion, what is the most underrated or overrated classic car — and why?

Lately, I consider the Ford Bronco one of the most overrated classic cars. I’d also include the K5 Chevy Blazer. They’re fun, playful vehicles — but in many respects they lag behind alternative choices. In fact, our family once owned a 1974 K5 Blazer: it was a blast, with a removable fiberglass canopy and a roll-bar–mounted shoulder belt my dad had installed. Many fond memories.

As for the most underrated, there are many. Admittedly, I tend to favor performance and specialty cars, so my choices reflect that bias: the 996 GT2 and Turbo S; the 612 Scaglietti with manual transmission; the 456 with manual; even the 400i/412 with manual; the Jaguar XJS with a manual; and the BMW 850 CSi with manual transmission. As you may have noticed, I have a distinct fondness for twelve-cylinder cars with manuals.

That leads to the mystique of valuation: the value of anything is what the next person is willing to pay. With increased market reach and access to more qualified buyers, valuations can be driven upward — yet fundamentals, provenance, condition, and desirability remain the bedrock of long-term value.

Are you seeing a generational shift among collectors and enthusiasts? If so, what does that mean for the future of the scene?

Absolutely. Demographics are shifting rapidly across many countries: the Boomers are aging, and Gen X and Z are stepping into prominence. Japan is well ahead of many markets in this shift. The workforce is evolving; automation and robotics are transforming employment structures. What does this mean for the classic car industry? The customer is changing — and so are their preferences. We are in a transitional era, where the new and the old clash. No one can predict exactly how it will play out, but people are resilient, and new pathways will surface. We’re already seeing hints of this via new events, educational initiatives, and support services. The classic car business has matured over the past four decades and remains robust. But diversity is essential — in opportunity, genre, and approaches to engagement. I believe that today’s flexibility will be handsomely rewarded in the future.

There’s frequent concern that younger generations are losing interest in the classic car hobby. Do you share that concern — and if so, what could be done to counteract it?

I have heard that concern, but I don’t believe younger generations are broadly uninterested in cars or classics. Many contacts of mine are in environmental management and have embraced electrification as a priority — and the car business doesn’t always align with that. Yet, I’ve observed that young people in my circle still show genuine interest in classic cars. It may surprise some, but perhaps it shouldn’t.

There are many initiatives to develop and sustain a car culture: education, events, restoration programs, and motorsport engagement. The commercial growth of motorsports and the broader mobility sector helps keep the subject relevant. Preserving heritage and advancing sustainability are not mutually exclusive — both can and should thrive together.

Which modern vehicles have the potential to become true collectibles or classics in 30 years? Or will technical complexity — electronics, parts availability — make that nearly impossible?

What does it mean to become a classic? There is no single formula. Historically, cars that endure achieve a combination of rarity, performance achievement, and design or technological significance. Prime examples include the 1955 Mercedes Uhlenhaut Coupe, the 1962 Ferrari GTO, and the 1997 McLaren F1. Those attributes, I believe, offer a useful lens for forecasting future classics.

In my view, current candidates include the Porsche 718 Spyder RS, the GT4 Weissach, and the latest BMW M2 CS. The second-generation Honda/Acura NSX is another example — I believe it will accrue cachet over time, similar to its predecessor. The 2005 Ford GT also remains highly regarded.

Are there any electric classics rising today? Electric cars have existed since the early 1900s, yet only a few have become acknowledged classics. Some argue that first-generation Teslas or other early EVs may qualify in time — and perhaps they will — but they aren’t currently on my radar in that capacity. If any EVs do achieve classic status, I suspect it will be because they represent a turning point in technology or design, rather than through the driving experience that defines most other classics.

How do you see the future of the classic car scene in general? What are the biggest challenges ahead?

I believe the classic car scene has a bright future — provided people remain engaged: families, enthusiasts, clubs, and grassroots communities. For it to thrive, the scene must remain accessible, insightful, and affordable. Whether someone attends a Saturday-morning cars-and-coffee event, a backcountry rally, a concours d’elegance, or simply works in their garage for the joy of it — these activities are the lifeblood of the community.

I think the greatest challenges ahead include shifting demographics, regulatory and emissions pressures, rising restoration and storage costs, scarcity of parts for rare models, and the imperative to attract and educate new enthusiasts. The scene must adapt — embracing education, accessible events, pragmatic regulation, and sustainable practices where feasible — all while preserving the authenticity and heritage that make classic cars special.

What advice would you give someone who is just getting started in the classic car hobby?

Nurture your passion. Think beyond the conventional. Stay curious and adventurous. Seek a mentor. If no one else is doing what you aspire to, go ahead and do it yourself — or with a trusted friend. Build a life around what makes your heart sing and brings a smile to your face. It won’t always be easy — indeed, the joys are what carry you through the lows — but always stay true to your core values and align your actions accordingly. There is no failure, except in ceasing to try.

Thank you for taking the time to give us an impression of your view on the classic car market.

Thank you for giving me the opportunity to share my thoughts.

More insights and assessments of market developments on the LinkedIn channel of A Mechanical Symphony.

Photos McLaren Automotive Ltd., Cargold, Real Art on Wheels B.V., Talacrest

Author: Classic Trader

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