Campo was a sub brand of Alfred Arnold
sold in Uruguay focused on the low end price range.
The finish is always plain, minimalist and directed to students.
The high end bandoneons like PREMIER with all
luxury options, were distributed by an other importer. This model has
10 additional voices, (see 152 voice layout )
The
c in the AA Brand indicates a chromatic (unisonoric)
bandoneon. It was created by
Charles Peguri and produced by Alfred Arnold
to satisfy the needs of French accordionists urged to play tango.
As already mentioned, Alfred Arnold simply replaced the sound boards of the
regular bisonoric bandoneon. That way they could not be distinguished
visually from the bisonoric model and it was a cost effective solution.
The shown instrument appears to be in a very good conservation state.
It is not common to see engraved button key codes on a unisonoric
bandoneon, since they make sense only for the bisonoric bandoneon.
Probably this happened while the instrument was
refurbished. The finish looks handmade.
Do not consider modify an existent bisonoric into a unisonoric one.
The reed chambers are not the same and it would require their
replacement as well.
So far, no original Heinrich Band instruments were discovered.
Instead, Alfred Band was the well known established Brand.
(see The Band Dynasty to know more.)
The Alfred Band, a son of Heinrich Band, established his
company in Krefeld A mention is of 1886.
During the first decade of the new century, the commerce with bandoneons
was exposed to a strong competition and forced him to resign.
Alfred Band died in 1923. It is known of a company's representation
in New York.
The Band Dynasty
This antique instrument belongs to
Ricardo Roucau , a professional magician and tango fan
living in Miami.
A stamp inside reads:
Alfred Band
Unfortunately, there is no date inside and I believe it was made before
1890.
The height of the shown instrument is 21 cm,
depth 24 cm and (with closed bellow) 53 cm wide.
The bass consists of 25 keys, the treble has 29 keys (bisonor)
corresponding to the original 130 voice, rheinische Lage .
130 voice keyboard
Inside the bass cover and on one treble reed plate
there is an inscription saying
108 octav
which means that the 108 voice instrument has all its 108 voices with
double reed, octave tuning.
The instrument was bought by the actual owner in an antiques shop in
North Miami in 1986 being originally from Wisconsin, a State with a
certain bandoneon tradition inside the USA.
Though the Alfred Arnold company and the Ernst Louis Arnold belong
to the same roots, they were competidors. The section
The Arnold Family will clarify the relations.
But the foundation of the ELA factory has a curious story and which
indicat the relations to the Band roots: read about
Carl Friedrich Zimmermann
Most brands had a baroque model to offer. The molded shape of the
keyboard covers remembers French baroque style furniture, therefore
they nick named it Louis XV .
general view
rear view
bass keyboard
treble keyboard
instrument in it's case
This Louis XV model
is a 152 voice, rheinische Tonlage (argentine type), dual
reed instrument with aluminum sound boards
The ornaments are typical for Ernst Louis Arnold and might
be from the end 1930ties. It is in a mint condition and looks like
never played.
America
ELA 142 voice
This instrument, approved and signed by Pedro Berto,
is of approx. 1930. Its reed plates are made of aluminum, a light metal
introduced in 1923 for this application. While it was highly appreciated
in Germany, particularly for the larger multi register instruments keeping
the weight low, the tango musicians preferred the heavier and cheaper zinc.
The heavy reed plates have an advantage for managing the bellow.
The technique consists in using the own weight for opening and closing
with the leg movement while
the bellow heads rest on the knees.
Many bandoneonists insist in zinc because they find a better sound.
Please note, this instrument has bellow edges. They may be considered
a decoration or enforcement. The final total weight of 5240g is the same
as a zinc /no edges instrument.
The heavier bellow may be slightly slower.
Meinel & Herold Harmonikafabrik und Versand
was a (handheld-) harmonica manufacturer in Klingenthal and
distributor of musical instruments. I do not know details about
bandoneon models they offered.
The dual reed instruments in Argentina
which were imported by Luis Mariani, Buenos Aires,
are considered to be more brilliant than AA or even
ELA instruments.
They were sold under the brand
3B ,
BBB , or
Tres B
Mr. Werner Meinel, a former owner of the Meinel & Herold
Company explained that the company's philosophy was always
to sell directly to the customers, at least for the domestic market.
As he confirmed, the offered bandoneons were manufactured by AA, ELA,
and particularly the quadruple reed instruments by
Gebr. Meinel,
Klingenthal . In spite of the name of the latter,
they were independent and had nothing to do with each other;
in Klingenthal there are about 400 families with the same name.
After World War II the Meinel & Herold company was nationalized,
like all the other companies, and controlled by the
VEB Klingenthaler Harmonikawerke . At that time the bandoneon market
was already insignificant. During the early 1970s M&H
was integrated into the Gebr. Gündel, Klingenthal
company and the bandoneon production definitely vanished.
Mr. Yoshiro Kido, who owns a BBB (Tres B),
confirmed this behavior and considers it tasteful.
The dimensions are close to an ELA instrument.
However, the fret work and other details remembers of an AA.
Wolf & Co. is known to exist
for at least since 1911. The mother factory
was located in Klingenthal (Saxony) and a second one was in Markhausen
(Bohemia).
The shown instrument is a 130 voice
single reed instrument in original
rheinische Lage with zinc reed plates
mounted on box shape reed chambers for the bass, and flat board chambers
for the treble. The size is smaller than regular
dual voice instruments: 20 cm height and 21 cm deep. The closed instrument
is about 27 cm wide without the handle and buttons and 37 cm over all.
In extended state it measures about 67 cm. The reduced dimension
of the instrument is possible since only one reed acts per note.
The pencil written serial number (156) is
found inside each instrument cover. A round swiss customs
stamp says ZOLL I-28 and indicates
presumably the time the instrument was imported.
The buttons are made of
wood and are partially capsuled with metal caps (original) like those
used until World War I. Some of the buttons are simply painted with
aluminum paint and have metal plates glued to the tips. Other buttons
are not original and remade of aluminum with the advantage to having
no friction with the wooden
cover. The average button distance is 22 mm and indicates that it
is not a children's study instrument.
The bellow has 10 folds each 26 mm deep and which are devided by one
bellow frame (10/1). The
bass dumper case is straight (no wave shape).
The instrument sounds very similar to an english concertina due to the
single reed construction and the large volume of the reed chambers.
It is far less agressive but sweet and a bit dull.
A sound example
Your browser does not support the
audio
owns
a
Danielson Bandoneon build on August 22, 1961
by
Sr. Arno Goettems , serial # 161.
It is a 142 voice, double reed instrument (octave) with aluminum
reed plates and a keyboard like that used in Argentina.
Emílio Lima
owns a Danielson built on February 9th, 1962 (serial # 212).
He says, up to 1996 a total of about 1200 instruments were built.
historical abstract of by
Jean-Pierre Bianchi from
bandoneonbrasil
(in Portuguese).
many pictures.
In contrast to the established free-reed manufacturing centers like`
Saxony, or Black Forest, the harmonica makers in Bavaria were very small
manufacturers producing hand crafted instruments on demand
for the local market.
The name Wiesner is known for many free reed instrument makers
in Munich.
However, there is no evidence about their parentage.
Maria Dunkel refers to Willibald Wiesner, Harmonikamacher,
est. 1859 , but also to Carl Wiesner Gebr. Wiesner, Konzertina und Harmonikamacher
Josef Wiesner made bandoneons under his sign during
the time from 1925 to 1942.
He was known as very inventive, owning lot of registered
patents concerning improvements of musical instruments.
He constructed a bandoneon with a piano keyboard, presumably even before
World War I. Also a disposal to play any bandoneon free hand, in a similar
way to a symphonetta, is of his authorship.
The keyboard layout of the model shown below, is characterized as
as Schrammelbandoneon . The Schrammel music has it's
origin in a folk music style created by Johann and Josef Schrammel
during the second half of the 19th
century in Vienna and which influenced the folk music style of the
surrounding regions including
Slovenia, Hungary, Bavaria among others. The development of the keyboard
layout started from the 130 voice rheinische Lage
to which new keys were
added, but in a different manner than for the Argentinian type.
Each note is produced in this model by 2 reeds. However, the
sound differs clearly from dual reed instruments used in tango:
There is no dry character and sounds far softer.
The reason is because of the different construction:
The bass instrument side
differs from the usual instruments in the lack of a dumper box.
The dumper mutes the high partials of the bass and produces
a soft sound similar to a cello.
The sound of the overlapping range of notes from the left and right side
does not differ significantly.
The large dimension of the cabinet compared with other dual simplifies
the building of instrument
variants with 3 or even more reeds per note. Also it
may have influence on the sound color comparable to a damper case.
Furthermore the tuning is done
with a pronounced tremolo, for at least all the bandoneons I heard in Bavaria.
The softer sound is requested not to disturb other silent instruments
used in Bavarian ensembles, typically formed by two violins, double necked
counter guitar, clarinet, double bass.
The pictures below are taken from a Josef Wiesner
instrument belonging to Alois Scheungrab of Ampfing near Mühldorf am Inn
(Oberbayern), the last living pupil of the virtuoso Georg Weinschütz
slides
general view of front and top
the open bellow
view of the bass keyboard
(observe the missing dumper)
view of the treble keyboard
the treble mechanics
the treble reed chamber blocks
(observe both reeds in perpendicular position)
a new box containing Wiesner reed boards
the rebuild Wiesner from the treble side
The Chemnitzer is not subject of this site. However
it is important to know about, since the bandoneon is in fact
a modified Chemnitzer Concertina. The first instruments date from
around 1834.
Alfred Arnold Chemnitzer Concertina in "Scheffler'sche Lage",
build in 1932.
Three reeds per button on the right side, two or three per button on the
bass-side. In total there are 52 buttons and 104 tones.
General view of the instrument from the treble side
Color JPEG, (40792 bytes), 497x347
Close-up of the reeds and the leathers
Color JPEG, (36678 bytes), 499x351
View from the top showing 'Alfred Arnold' metal plate
Color JPEG, (28926 bytes), 500x344
General view on the reeds
Color JPEG, (40308 bytes), 492x345
Front view on the belly
Color JPEG, (52075 bytes), 498x347
General view on the wooden mechanics under the buttons
Color JPEG, (33991 bytes), 497x345
View on the inside of the belly
Color JPEG, (25406 bytes), 503x345
Close-up of the buttons
Color JPEG, (32497 bytes), 503x345
