Salon-Bandonion
System: Weinschütz, 144 tones
bisonoric
(Collection Oriwohl, Nr. B-67)
Manufacture: Co. G. Strobl & Sohn (Munich) 1942, 2-choirs tuned beat, (5kg)
Keyboard system and design by Georg Weinschütz (1871-1949)
The probably most famous bandonion player of his time in Bavaria designed his own tailor-made instrument, on which he played as a soloist or in a tercet with his brothers.
The Instrument in video, Aschau 1980s.
Left side:
2-choirs (8'+16')
The keyboard system has individual tone assignments, especially at the edge areas. There is not the usual numbering of the keys for fingering at that time, so that this instrument required knowledge of notation in order to play from sheet music.
Right side:
2-choirs (8'+8°)
The right side is tuned with beat, as was preferred in southern Germany at the time.
"G.Weinschütz (Spieler u. Komponist - Salon Bandonion
ausgef.v.G.Strobl u.Sohn
München, Herren Str.1
D.R.G.M. Nr.21114 Must.ges.gesch." [Patterns protected by law]
An advertisement of the manufacturer with a picture of the name giver.
The distinctive mark of a Weinschütz bandonion is its rectangular keys.
Georg Weinschütz from Munich composed numerous pieces of music, often performed on on the young radio and participated in over 100 recordings, the first of which dates from 1901.
In the tradition of the brothers Johann and Josef Schrammel from Vienna, the "D' Weinschütz" performed in the line-up popular at the end of the 19th century in entertainment music: Violin, (contra) "Schrammelgitarre" and harmonica, which in this case was the bandonion of Georg Weinschütz. The performances were popular in all circles of society.
Before the invention of the Charleston, Foxtrot, Rock'n'Roll, Discofox, Salsa or hip-hop, people enjoyed themselves with waltzes (98), polka and mazurka (57), gavottes (14), quadrilles (9), concert pieces (200), Viennese marches (159) and compositions by G. Weinschütz (20). The numbers stand for the titles listed in a "Programme of the Bandonion Virtuoso Georg Weinschütz, Munich 1914/15".
