Kusserow-Bandonion
Systems: Zademack, Micklitz (Son), Gerlinger
unisonoric, logical
(Collection Oriwohl, Nr. 47)
Manufacture: around 1930
The name Kusserow goes back to the Berlin music teacher Ernst Kusserow (1897-1979), who taught and promoted this model and was involved in its development. Through his teaching activities from 1934 as head of the bandonion class at the Stern Conservatory in Berlin, and his advertising for this instrument, it was soon given its name.
Ernst Kusserow received "instruction in bandonion making and construction from Julius Zademack" and learned from one of his journeymen to play bandonion (Graf p. 237). He was also Author of the bandonion school on the left.
The preface to the learning guide:
"The good breaks through... The first chromatic [unisonoric] bandonion was built in 1903, and it took more than 20 years for it to prevail despite all enemies and adversaries. For years, many fanatics raged against the chromatic bandonion, until the best players in Germany decided in favour of it after recognizing the inadequacy of the number [bisonoric] bandonion in their practice and recommending the chromatic bandonion for the future... Compared to the teaching method of the number bandonion, there is a very significant change, as here, similar to piano lessons, we start with etudes first.... The etudes enable a much more thorough training of the player... Once we are able to meet higher musical standards, we will also gain the recognition of those who are still prejudiced against the bandonion today... May this school be a welcome help in learning the chromatic bandonion for all those who enjoy and love our beautiful folk music. Berlin, May 1927"
Artikel aus Der Volksmusiker von Mai 1965
"On May 26, 1965, a man completed his 68th year of laying, who unfortunately never achieved the broad popularity that should have come to him due to his lifelong efforts for the cultivation of the bandonion and especially for the redesign of the bandonion itself: Ernst Kusserow.
(...) Unfortunately, Ernst Kusserow celebrated his 68th birthday at a time when, on the basis of all the established circumstances, would probably now be suitable and ripe for the broad reception of the unisonoric bandonion, but also in a time whose need for modern bandonions is unfortunately no longer matched by an efficient and open-minded industry. We are convinced, however, that some of Ernst Kusserow's excellent pupils will carry his extensive efforts in the field of bandonion into a more mature future. So today our wishes of Ernst Kusserow are that he may remain with us for a long time in his old strength for the benefit of the bandonion." (full article)
Left side:
2-choirs (8'+4')
System by Richard Micklitz
Right side:
2-choirs (8'+8')
System by Julius Zademack with an auxiliary row by A. Gerlinger for chromatic playing.
Right manual:
Neighbouring rows are spaced in fifths. The fifths can be played comfortably with one finger on 2 keys at the same time. This is part of the normal way of playing. With 2 fifths in a chord, up to six-part chords can be played.
The remaining space in the bottom row was later used on many instruments for additional keys. In the process the only bisonoric key on this instrument (in the picture with two notes) changed into two unisonoric keys.
Manufacture: around 1930
The construction and the keyboard system from 1925 were retained for decades. However, production of this model also came to a standstill in the 1950s.
It was not until 2005 that Peter Spende and Bernd Machus made new innovations of construction and keyboard system. Unfortunately, these were only used on a few newly built instruments.
Left manual:
A high-quality instrument, also in terms of its external design. Porcelain with porcelain keys on which the tone assignment is written in notes be a rare ornament.
The porcelain trim is vaulted.
