Bandoneon

Lore & Background

The bandoneon was named by German instrument dealer Heinrich Band (1821–1860) and originally intended for religious and popular music, contrasting with its predecessor, the German concertina, used in folk music. Around 1870, German and Italian emigrants and sailors likely brought it to Argentina, where it was adopted into tango and chamamé, though no documentation confirms the exact introduction. By 1910, bandoneons were produced in Germany for the Argentine and Uruguayan markets, with 25,000 shipped to Argentina in 1930 alone. Declining popularity and World War II disruptions ended mass-production.

Reader's Guide

The bandoneon's significance lies in its central role in tango music, shaping the genre's sound from the early 20th century onward. Introduced by composers like Eduardo Arolas and Vicente Greco, it was later developed into the sextet formation with two bandoneons by Pedro Maffia and Pedro Laurenz, establishing the base for the bandoneon section in the orquesta típica. The instrument's bisonoric nature—different notes on push and pull—presents a steep learning curve, with four distinct keyboard layouts. Despite this, it became iconic through players like Aníbal Troilo and Ástor Piazzolla, who combined classical music with traditional tango to create nuevo tango. Historically produced only in Germany, vintage bandoneons became rare and expensive by the 2000s, prompting efforts like the National University of Lanús's 2014 plan to develop an affordable Argentine-made version. Unisonoric variants, such as the Peguri system, offer easier learning but remain less common in Argentina, where the 142-tone 71-key rheinische system dominates.

Did You Know?

• The bandoneon was originally intended for religious and popular music, not tango.
• By 1930, 25,000 bandoneons were shipped to Argentina alone.
• The left hand produces a nasal and muted timbre due to the wooden box, while the right hand is bright and sharp.