The bandoneon holds a central and irreplaceable role in the world of Tango. Originating in Germany, this button accordion found its way to the Rio de la Plata region in the late 19th century, where it became inseparable from the development and essence of Tango music.
The bandoneon’s unique sound, characterized by its melancholic and haunting tones, perfectly captures the emotions and narratives that define Tango. Its ability to evoke feelings of longing, passion, and nostalgia is unparalleled, making it the quintessential voice of the genre.
In Tango orchestras, the bandoneon serves as both a solo instrument and a fundamental part of the ensemble. Its rich and expressive sound adds depth and texture to the music, filling the air with its soulful melodies and intricate harmonies.
Moreover, the bandoneon is essential for driving the rhythm of Tango. Its distinctive bellows-driven mechanism allows for dynamic and rhythmic variations, providing the pulse and heartbeat that propel dancers and musicians alike.
Beyond its musical contributions, the bandoneon is deeply intertwined with the cultural identity of Tango. It embodies the spirit of the streets of Buenos Aires and Montevideo, where Tango was born and flourished. As such, it carries with it a sense of history, tradition, and authenticity that is integral to the Tango experience.
The origins of the Bandoneon
The origins of this instrument date back to 19th-century Germany, when it was originally just a portable church organ. It is an evolution of the accordion (Akkordeon in German). Its authorship is often attributed to the luthier Heinrich Band, who created a portable instrument inspired by the concertina to provide music for small churches that could not afford or maintain organs or harmoniums.
Another version claims that Cyrill Demian, an Armenian inventor, organ and piano maker, patented the bandoneon on May 6, 1829, in Vienna.
Finally, its invention is attributed to Carl Friedrich (or Herman) “Uhlig”, who presented it in 1830 at the Leipzig Fair by modifying the English concertina with hexagonal boxes.
The Bandoneon National Day
Since 2005, July 11 has been commemorated as National Bandoneon Day, declared by the National Congress through Law 26.035 and sanctioned on May 18 of that same year. The date was not arbitrary: it was chosen to coincide with the birth of Aníbal Troilo, the “Bandoneon Mayor of Buenos Aires,” better known as “Pichuco,” a composer, orchestra leader, and emblem of our tango. This law was promoted by Francisco Torné (grandson of Zita Troilo) and the poet Horacio Ferrer, president of the National Academy of Tango.
What is a bandoneon?
A bandoneon is a portable aerophone. And a portable aerophone, according to the classification by musicologists Eric von Hombostel and Curt Sachs, is a portable wind instrument with buttons, operated by bellows, allowing simultaneous execution with both hands, using air pressure and a system of metal reeds. On the right side are the so-called tuned edges, and on the left side, in a lower octave, are the bass notes.
Bandoneons can be chromatic or diatonic. Chromatic ones produce the same note when opening or closing the bandoneon, being the first ones manufactured, and they continued to be used in Europe. Diatonic ones produce a different note when opening and closing, allowing for dissonances or consonances. Diatonic ones were adopted by tango performers.
The Bandoneon arrives to Argentina and Uruguay
The bandoneon arrived in the Río de la Plata region between 1870 and 1880, becoming a stable part of tango orchestras by the early 20th century. It is not clear who introduced it first. Some historians argue that it was Tomas Moor, an English sailor, while others claim it was a Brazilian or even a German drover. There is also a version suggesting that a son of Band brought the instrument made by his father and gave the first lessons on its use to a local, José Santa Cruz, who then passed on his knowledge to his followers.
Among the first musicians in Buenos Aires were El Pardo Sebastián Ramos Mejía, Antonio Chiappe, Mazzuchelli, and Zambrano, among others. They were followed by El Tano Genaro Expósito, Vicente Greco, Juan Maglio Pacho, Eduardo Arolas, Manuel Pizarro, and other legendary names in tango history, who played the bandoneon sitting down instead of standing up. The bandoneon gained prominence in the 1910s, in what Vicente Greco called the “typical Creole orchestra.”
Other fundamental names in tango included De Leone, Minotto, and Laurenz. Later came Troilo, Scorticasti, Portier, Ríos, and Ahumada. Finally, Piazzolla, Leopoldo Federico, Medero, and Rovira emerged.
Alejandro Barletta, creator of the first bandoneon school, incorporated the instrument into classical music, performing for the first time in the history of music G.E. Handel’s Concerto No. 4 for Organ and Orchestra accompanied by the Paris orchestra in 1951.
