The Accordion in the 19th Century - Gorka Hermosa

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(1890) from Vienna [138, 186], Wyborny 121 (1897) from Vienna [197]...? What it is certain is that since late 19 th c., accordionists were eager to be able to play melodies on their left hands and several artisans found different solutions to their concern in about the same years 122 . In the 20 th c., these accordions have remained much the same: many of the classical accordions for the young only use free basses (without standard basses) and accordionists such as Helmut C. Jacobs still use it for concerts, recordings... It is especially noteworthy the harmoneon, which Monichon invented in 1948. It was built by Busato and numerous French composers wrote for it –among them, composer and performer Alain Abbott [202] was the main exponent. Fig. 67: Shpanovsky Fig. 68: Spadaro Fig. 69: Wyborny (Ukraine, 1888) 123 . (Italy, 1890) 124 . (Vienna, 1897) 125 . II.2.9- Standardization of the unisonoric accordion Non of the chromatic models became standardized during the whole 19 th c. and the sales of these models were smaller than those of the diatonic, but in 1897 Paolo Soprani (1844-1918), assisted by the artisans Mattia Beraldi and Raimondo Piatanesi (1877-1964) patented in Italy the chromatic accordion. The industrial manufacture by Soprani and the high quality of their instruments allowed the spread and standardization of these models around the world and soon many other manufacturers followed suit. [49, 202] Fig. 70: Soprani (Italy, 1897) 126 . Fig. 71: Patent by Soprani (Italy, 1897) 127 . 121 The Vienesse company Mathäus Bauer built a prototype called accordion wyborny in 1897, which had three rows of Mirwald’s button chromatic system both for the right and left hand. The left keyboard was on the inner part of the keyboard (on the same level as the air button), instead of the front part of the casework, as is customary). [197] 122 In the 19 th c. there were other similar free bass instruments such as Novikov’s accordion in 1914 (Russia). [197, 202] 123 Fig. taken from: Mirek [197] page 26. 124 Fig. taken from: Boccosi [42] page 31. 125 Fig. taken from: Mirek [197] page 22. 126 Fig. taken from: Monichon [202] page 109. 127 Fig. taken from: Monichon [202] page 100. 29
II.2.10- Added basses accordion Some of the accordionists who started to play the free bass accordion did not want to lose the advantages that the Standard bass keyboard provided and set out to devise ways to combine both manuals. One of the first in trying was Pasquale Ficossecco in 1898. In 1905, the great accordionist Giovanni Gagliardi (1882-1964), a pioneer in faithful interpretation of transcriptions for the accordion, designed a system that allowed both free and standard basses on the left manual. Savoia manufacturers made this instrument for him, which Gagliardi patented in 1910 128 . [93, 353] Fig. 72: Cromo-harmonica by Gagliardi 1910 129 . Fig. 73: Ficosecco Fig. 74: Germany Fig. 75: Piatanesi-Raimondo (Italy, 1898 130 ). (1908) 131 . (Italy, 1921) 132 . II.2.11- Convertor accordion The big size of the accordions that assembled manuals for standard basses and free basses stimulated ideas to suggest different possibilities to join them, such as the convertor system, which enabled the same manual to be used both for standard and free basses when pressing a convertor system bar. According to Macerollo [178], the first convertor system was invented in Belgium in 1911 by an unknown author. According to Zavialov [287] and Maurice [188], it was the Russian P. Sterligov in 1929; and according to Monichon [202], it was Julez Prez in 1929 in Belgium. What is certain is that the current convertor system was invented in Castelfidardo by Vittorio Mancini in 1959 [171] and has been, so far, the latest significant development of the accordion. Fig. 76: Prez (1929) 133 . Fig. 77: Current convertor accordion 134 . 128 Gagliardi submitted the patent for the cromo-harmonica on 17/12/1910, which was accepted on 24/02/1911. According to Macerollo [178], the first hybrid bass accordion was built in Vienna in 1901. Other pioneer hybrid models (besides the ones in the pictures) were: 1908 in Finland by an unknown author according to Kymäläinen and Llanos [171], according to Monichon [202], 1912 in Vienna by an unknown author ... 129 Fig. taken from: http://vapaalehdykka.net/?k=soittimet/harmonikka&sivu=historia 130 Fig. taken from: Buggiolachi [51] page 45. 131 Fig. taken from: Maurer [187] page173. 132 Fig. taken from: Buggiolachi [51] page 54. 133 Fig. taken from: Mirek [197] page 45. 30
Page 3 and 4: ISBN 978-84-940481-7-3. Legal depos
Page 6 and 7: FOREWORD By Prof. Dr. Helmut C. Jac
Page 8: INTRODUCTION This book tries to dis
Page 11 and 12: I.1- Appearance of the free reed in
Page 13 and 14: klut or dding-pi. The first free re
Page 15 and 16: In 1575 27 Roll invented the Bibelr
Page 17 and 18: Fig. 22: Illustration by Mersenne (
Page 19 and 20: In 1780 Kratzenstein built, along w
Page 21 and 22: • Melodica: patented in 1890 by M
Page 23 and 24: II.1.2- Comments on the invention o
Page 25 and 26: II.2- Organologic evolution of the
Page 27 and 28: II.2.4- Accordion with registers In
Page 29: The disposition of that unisonoric
Page 33 and 34: Fig. 78: Chart representing the sal
Page 35 and 36: III.2- The diatonic accordion in th
Page 37 and 38: Fig. 83: Müller’s method (Vienna
Page 39 and 40: According to Monichon [202] and Bil
Page 41 and 42: In 1898 he published an autobiograp
Page 43 and 44: FRANCE: Apart from the music inside
Page 45 and 46: several of his paintings: Acordeoni
Page 47 and 48: entitled Accordion Essay: The Touch
Page 49 and 50: As a summary of the situation of th
Page 51 and 52: III.3- The concertina in the 19 th
Page 53 and 54: • Bernhard Molique (1802-1869) wa
Page 55 and 56: The concertos for concertina and or
Page 57 and 58: The first internationally acknowled
Page 59 and 60: Fig. 139: Extract from “Schlachtl
Page 61 and 62: 403] Fig. 143: Extract from “Duo
Page 63 and 64: Fig. 148: Extract from Landsighting
Page 65 and 66: Let us analyze below the most impor
Page 67 and 68: In the 1850s he composed several ps
Page 69 and 70: Austrian composer Johann Strauss jr
Page 71 and 72: information. [66, 146, 219, 348] Ed
Page 73 and 74: At the beginning of the 20 th c. ov
Page 75 and 76: Blagrove, Richard and Smith, Sidney
Page 77 and 78: ANNEX II: REPERTOIRE LIST FOR HARMO
Page 79 and 80: Guridi, Jesús (1886-1961) Hanon, C
Page 81 and 82:
Massenet, Jules (1842-1912) Meyerbe
Page 83 and 84:
Dvorak, Antonin (1841-1904) Fauré,
Page 85 and 86:
Mustel, Alphonse (1873-1937) Neukom
Page 87 and 88:
Grainger, Percy (1882-1961) Guilman
Page 89 and 90:
Mahler, Gustav (1860-1911) Penderec
Page 91 and 92:
Korngold, Erich Wolfgang (1897-1957
Page 93 and 94:
Vierne, Louis (1870-1937) Webern, A
Page 95 and 96:
42 BOCCOSI, Bio & PANCIONI, Attilio
Page 97 and 98:
117 HEYMANN, Alfred: “La guimbard
Page 99 and 100:
195 MILLER, Terry E. & SHAHRIARI, A
Page 101 and 102:
100 277 VIELE, Chase (1997): “Whe
Page 103:
102 390 “Leonardo da Vinci” (20
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The Accordion in the 19th Century - Gorka Hermosa

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