In 1856 he publishes a musical edition showing a 130 voice instrument with the main valve saying in large letters BANDONION. For the first time this name is published and helps promote his instrument. The merchant net becomes even larger, when his brother Johann opens a store in Cologne:
Johann Band & Comp. - Musikalische Instrumentenhandlung und Bandonion-Fabrik.
In spite of the suggesting name, there is no evidence of a bandoneon factory. But Heinrich dies in 1860. His widow and the company officer Jacques Dupont continue the business. However, at this point changes possibly the provider or manufacturer of instruments. At the same time Friedrich Zimmermann sells his instrument factory in Carlsfeld to Ernst Louis Arnold But the business continues and the brothers Ullrich and Johann Band sell in 1863 instruments in Mainz. In 1889, Alfred Band establishes a store in Krefeld. Again, nobody knows who is the manufacturer. An article published by Prof. Karl Rembert 1940 in Krefeld suggests they were produced in Waldheim /Saxony by Gebr. Seifert Bandonion- und Konzertina-Fabrik. established in 1870. the boxes of their instruments are nearly squares.
when he organized the production and commercialized it together with a
specially ciphered written music. In 1882 appeared the name "Bandonion" derived
from his name. It was supposed to be used as a substitute for the organ
in small church communities. May be it was the very special sound which
maintain the demand, but the very complex disposition of the buttons,
prevented a greater diffusion. The idea was to have an instrument
for polyphonic music rather than for melody one and the buttons where
placed in a way to facilitate forming of chords. In contrast to
the accordion, already quite popular in many countries, this instrument
does not provide predefined chords. In addition, most of the buttons
4have a different tone whether the bellow is opened or closed, this wrongly
denominated as "diatonic". The upcoming popularity of the tango in the
20ties forced the french musette players to play also the bandoneon.
Because of the difficulty of learning it, they asked for so called
chromatic instruments with equal tone for opening and closing. Until
today there rests a certain tradition in
the French speaking Switzerland speaking of the "French" chromatic model.
In Geneva e.g. there existed an orchestra with 10 bandoneons but only 2 of them