Bandoneon

The musical instrument bandoneon, originally Bandonion, is a designed by Heinrich Band Handzuginstrument, which has been developed from the concertina.

Construction

The housing of the bandoneons has a square cross-section. Between two end pieces of a bellows made ​​of wood frame ( alder or maple ) and goat leather is attached. By drawing and flattening of the bellows develops a negative or positive pressure. Via knobs on the two end faces of the valves can be opened for individual sounds. The air flowing through it then brings on so-called pinblocks arranged metal tongues of different pitches to swing.

The Oktavverdopplung, ie each tone vibrate mostly two tongues ( zweichörig ), ensures a vibrant and gentle but also sharp, brilliant tones. Other features, like the rattling of the buttons and air noise while playing, determine the distinctive timbre than other harmonica instruments.

Button systems and range

When wechseltönigen Bandonion most of the buttons are wechseltönig. Wechseltönige ( diatonic) buttons create a different sound when pressure and train the bellows. When gleichtönigen Bandonion (chromatic ), however, heard the same sound in printing and train game, thus corresponds to the number of different sounds on one side of the instrument about the number of keys in this area. Overall, it can be played over almost five octaves.

It will be made ​​with the following key systems Bandoneons:

Wechseltönig is played with four fingers.

  • Rheinische / Argentine position, range 142 or 152, not continuous chromatic ( it is missing some tones). The arrangement of the keys is not the same for all manufacturers.
  • Unit bandoneon, range 144 tone range right: g to a3, left: B to b1. The fingerings are easier than in the Rhenish location.

Gleichtönig is played with four fingers. The most common systems are:

  • Kusserow - Bandonion
  • Manouri system (partly C- handle), range 148, 34 keys, tonal C to a1 (34 tones).
  • Peguri system (partly C- handle), range 146, 33 keys, tonal Fis to cis2 (32 tones).
  • Traditional C or B-System: 154 range, 37 keys, tonal range B to b1 (37 tones).
  • Hybrid bandoneon (C or B-System ) according to the button accordion playable with five fingers. The number of keys is from 2 x 37 to 2 x 39

This series of photos shows the internal components of a modern Bandoneons:

In - and exterior of a side part

Bellows, Lateralsicht

Bellows, front view

Bellows pulled apart,

History and inventor

Carl Friedrich Zimmermann began in 1849 to build harmonicas which he previously with Carl Friedrich Uhlig ( born April 23 1789 in Chemnitz, † July 9, 1874 in Chemnitz) had met. He called his instruments Concertina. It was a Handzuginstrument, which comprised a range of up to 102 tones ( Schefflersche pitch ). Presumably, Zimmermann was the first who applied these English, going back to Charles Wheatstone term, to this particular German concertina type.

Jazz history is however no longer the fact that the improved Concertina - handle system is not due to a carpenter, but actually on the Krefeld music teacher Heinrich Band doubt. It is shown that band initially bought up in Bohemia concertinas, where he made the first significant changes, because he found the low range (54 tones) of that concertinas insufficient. These new instruments called Onion Band, and he sold them exclusively in his Krefeld music business, which he had inherited from his father. Band made ​​first 64 -note, later 88 -tone instruments that had the right 23 and left 21 keys. The range included on the melody side of c to e3, on the bass side from D to D '. It is believed that band in 1840 at Uhlig in Chemnitz concertina learned and used them for his Krefeld city orchestra. The Concertina at that time had only 54 tones. From this practical work in the orchestra he developed in 1846, so only three years ago carpenter, a 100 - Töniges instrument. ( cf. grandson Alfred tape, 1926)

Not valid proven is the oft-quoted thesis band had teamed up for the distribution of its instruments with multiple business partners and music shop owners in other cities to the so-called "Band Union ", which was said to be formative for the name of the instrument. More likely is probably that band in the commercial success of other harmonica type, which can then Accordion wrote oriented. This word was a neologism, it consisted of the Italian " Accord " and the Greek suffix "ion" together. "Ion " also has a mythological meaning, the literal meaning is something like " the stock in motion ". "Accordion " was thus an early, good sounding brand name, which probably contributed a lot to the success of 1829 created instrument. You can translate "Ion " but also " in motion "; the bandoneon was worn by many orchestras mainly walking or relocations. Therefore, the eyelets for the neck strap was placed at the top of the bellows earlier. For the 1834 to CF Uhlig declining in Chemnitz new accordion - type had been long time no catchy brand name. It was called the different instrument from Accordion initially "Accordion new kind " or simply " harmonica ". Probably in 1851, with the World's Fair in London, turned CF Zimmermann, as mentioned in the beginning the first time the English term " concertina " on the German instrument, although it is again different from the English instrument. That's why it was called later something correct " German Concertina " or " concertina ". Band was here so far clever than he, has created its own melodious and distinctive name for his creation, which in turn was only a variant of the existing twenty years German Concertina. Probably because he did not feel as the word " Bandion " beautiful sounding band added another syllable, and it was the " bandoneon ".

The bandoneon quickly became known and appreciated beyond the city of Krefeld, also in Germany. Band improved the range of 106 to 112, then to 128 and finally to 130 tones. 1924 was set at 72 keys and 144 tones from the German concertina and bandoneon covenant a so-called " unit Bandoneon ". Of these, most of the keys are wechseltönig.

From the bandoneon another Handzuginstrument that Symphonetta was developed around 1890.

Bandoneon game

On the concept of practical in its size, "simple" and financially affordable instrument also included the development of tablature (a kind of tablature ) to facilitate the learning process of the bandoneon. This could bandoneon players play the instrument without knowledge score. However, as musical works on this so-called washing line system with numbers and note value items need to be rewritten.

Bandoneon can be studied in Paris and Rotterdam in Europe.

The bandoneon is not nowadays reassigned, but kept on his knees.

In 1900, originated in Germany within the labor movement, many clubs Bandoneon (1939 there were about 686 teams ) that had the interaction mostly simple prescribed folk music. As recently as the 1930s, the bandoneon belonged to the basic tools of dance and entertainment bands. After 1950 there were many bandoneon clubs, where was mainly played together in four -part harmony.

In Europe and Germany the bandoneon was gradually displaced by the simple playable accordion, including also because it generated the same sense of hearing as the preferred here bandoneon type with swinging, full sound, and the majority wechseltönigen instruments for notes (without tablature ) only are difficult to learn.

Bandoneon and tango

The greatest popularity of the instrument is directly associated with the tango. Already in the early 20th century, the instrument was a formative part of Orquesta Típica. Even in later musical developments such as the Tango Nuevo and Electro Tango the formative influence of the bandoneon remained. In many tangos sung, donates the bandoneon with tango today an identity and is lovingly praised in South America as well as the best German invention. The bandoneon player in the local barrios have the bandoneon playing technique and style and exquisitely maintained for many generations and developed. It is played and taught by notes.

After Argentina and Uruguay the bandoneon came probably first over the United States. The German immigrant Wilhelm Seyffardt could be send in 1855 by his brother in Krefeld an "Accordion " to America, this was definitely a " bandoneon ". Sailors and especially around 1900 many European immigrants gave the instrument in the harbor bars and brothels of Buenos Aires and Montevideo, a new home.

The South Americans preferred a particular type of instrument: 142- tönig (the " Rheinische Document"), sharp in tone to gentle, moody and mysterious at the same time. Constructional " defects " such as the rattling of keys and wind noise were considered positive and organically integrated into play the instrument.

From Argentina, the bandoneon is then come with the new style of play and the Tango back to Europe.

Manufacturer

Most famous are the instruments of the defunct factory of Alfred Arnold ( AA) in Carl Field ( yew floor), a small town in the Ore Mountains. From there until about 1945 about 30,000 bandoneon were exported to Argentina and Uruguay. With the end of the bandoneon production by 1948 ( through expropriation of the company ), however, disappeared documents for local Bandoneonbau. Arno Arnold, a nephew of the founder, Alfred Arnold, produced in the Rhine -Main area for some years bandoneon, but did not reach the quality of AA instruments. For these instruments from the 50s, the reed plates usually made of aluminum instead of zinc were. Worldwide research and Smithson not reach the incomparable sound of old instruments to this day.

Today there are only a handful of bandoneon builders who build customization usually after ordering. However, one can visit very complete collections in Germany, such as the bandoneon Museum of Preuss family in Lichtenberg and the collection of the Steinhart family in Kirchzarten / Freiburg.

Famous soloists

  • Henrik Albrecht, German composer and bandoneon player
  • Ernesto Baffa, soloist, composer and arranger, Tango literature
  • Alejandro Barletta, soloist, composer and arranger, Classical Music
  • Daniel Binelli, soloist, composer and arranger, Tango literature
  • Roberto Di Filippo, soloist and composer, Tango literature
  • Michael Dolak, soloist and arranger, Tango literature
  • Karin Eckstein, soloist, Tango Argentino and crossover
  • Leopoldo Federico, soloist, composer and arranger, Tango literature
  • Norbert Gabla, composer and hybrid bandoneon
  • Raúl Garello, soloist, composer and arranger, Tango literature
  • Per Arne Glorvigen, Norwegian bandoneon soloist, who lives in Paris
  • Klaus Gutjahr, bandoneon soloist and manufacturers
  • Bettina Hartl, bandoneon soloist and composer
  • Lothar Hensel, soloist, especially Tango; composer
  • Jürgen Karthe, soloist in various groups Tango, Tango literature
  • Pedro Laurenz, soloist, composer and arranger, Tango literature
  • Pedro Maffia, soloist, composer and arranger, Tango literature
  • Nestor Marconi, soloist, composer and arranger, Tango literature
  • Alfredo Marcucci, Soloist, Tango & Folklore
  • Rodolfo Mederos, soloist, composer and arranger, Tango literature
  • Hans Joachim member, soloist, composer and arranger
  • Gabriel Merlino, bandoneon soloist and teacher
  • Alexander Mitenev, soloist and arranger
  • Juan José Mosalini, soloist, composer and arranger, Tango & Jazz
  • Ciriaco Ortiz, soloist, composer and arranger, Tango literature
  • Klaus Paier, soloist, composer, jazz, tango
  • Ástor Piazzolla, soloist, composer, arranger and founder of the Tango Nuevo
  • Osvaldo Piro, soloist, composer and arranger, Tango literature
  • Gustavo Battistessa, Argentine bandoneon player, who lives in Turkey
  • Walter Pörschmann, Soloist and Composer
  • Eduardo Rovira, soloist, composer and arranger, Tango literature
  • Helena Rüegg, soloist and composer
  • Tolga Salman, Turkish bandoneon soloist who lives in Ankara
  • Dino Saluzzi, soloist and composer, Tango, Jazz, World Music and Folklore
  • Pit Therre, director of the theater at the Marienplatz in Krefeld
  • Aníbal Troilo, soloist, composer and arranger, Tango literature
  • Michael Zisman, soloist, composer and arranger, Tango & Jazz

Reception

  • Movie theater to dance bandoneón. Pina Bausch en Buenos Aires. Argentina in 1995; 45 minutes; Director: Milos Deretich, Gabriela Schmidt, Gabriela Massuh. Production: Goethe Institute Buenos Aires. Music: Astor Piazzolla.

Media

  • Astor Piazzolla: Concerto for bandoneon. Lothar Hensel, Goritzki and German Chamber Academy Neuss. Capriccio in 1996. CD 10565
  • Tres movimientos tanguísticos porteños. Concerto for bandoneon. Josep Pons and Orquestra de Cambra Teatre Lliure. Harmonia Mundi France in 1996. HMC 901 595 (CD)
Squeezebox Chromatic scale Ancient Greek Eminent domain Jo Ment TAM (theatre)
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