The Accordion in the 19th Century - Gorka Hermosa

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I.3- Accordion manufacturers: Accordion manufacturers have been the corner stone in the development of the instrument throughout its history, not only from the organologic point of view, but also enhancing the spread of the instrument to diverse domains. Since Demian made the first instrument denominated accordion, there were numerous artisans in different parts of the world who started to manufacture accordions, whether copying others which were used as models, or introducing innovations in its design. The following chart shows the pioneers in accordion manufacture in different countries: [49, 138, 142, 186, 197, 200, 202, 217, 223, 294] Country City Year Manufacturer Russia 135 Nijni-Novgorod 1830 Ivan Sizov France Paris 1831 Mathieu François Isoard Austria Vienna 1834 Bichler & Klein Germany 136 Gera 1834 Wilhelm Sparthe Switzerland Langnau 1836 Johannes Drollinger & Johann Samuel Hermann USA Buffalo, New York 1836 Jeremiah Carhart 137 Italy Como 183? Unknown author Spain Madrid 1841 Juan Moreno Canada Toronto c1848 William Townsend Ireland Dublin 1855 Scales N. Zeeland ? 1863 ? 138 Argentina Buenos Aires 1886 Ángel Marraccini 139 Gradually artisan workshops started to arise, which produced accordions on a regular basis. In this way a small industry emerged, centred in Paris (France); in Klingenthal and Trossingen (Germany); in Castelfidardo (Italy); in Tula (Russia)… Below, we display a profile on the accordion manufacture in Italy so that we can visualize the development of the industry in this country. In red, we can see Italian accordion manufacturers (figure in red on the left); in blue, the number of accordions exported from Italy (figure in blue on the right): [181] 134 Fig. taken from: http://en.wikipedia.org/wiki/File:Jupiter_bayan_accordion.JPG 135 Ivan Sizov bought a five note accordion at a trade fair in Nijni-Novgorod in 1830 and decided to set up a workshop to produce accordions. [188, 196, 174, 183, 287, 294] 136 In 1833 C.W. Meisel took an accordion to Klingenthal (Germany), made by W. Thie in Vienna, which he found at Brunnswick Fair. [249] 137 According to Viele [277], it was in 1835 when he started to manufacture them along with Elias Parkman Needham. In 1846 he sold his patent to George A. Prince (1818-1890), who, from 1847 to 1866, sold over 40.000 melodeons. In 1852, George A. Prince & Co. had representatives in New York, Chicago, Cincinnati, Boston, St Louis, Philadelphia, Baltimore, Toronto... 138 A ship with settlers from Bohemia brought in 1863 on its departure from New Zeeland a new accordion whose trademark, recently engraved, was Kiwi. [359] 139 Ángel Marraccini (1851-1922) built the first piano accordion in Argentina, which he patented with number 504 from 1886, contributing with significant improvements to the instrument. [217] 31
Fig. 78: Chart representing the sales of accordions in Italy 140 . 140 Fig. taken from: http://vapaalehdykka.net/?k=soittimet/harmonikka&sivu=historia [181] 32
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 and 30: The disposition of that unisonoric
Page 31: II.2.10- Added basses accordion Som
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
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42 BOCCOSI, Bio & PANCIONI, Attilio
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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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