A composer does not need to play the bandoneon, but should know
it's keyboard (e.g. the bisonoric 142 voice system) and
about it's particularities. Like for most instruments, he should know
the limitations (what is possible and what not and where there are the
difficulties to perform) but also the strength and perhaps special
techniques not known on other instruments.
is aware of the problem and from questions presented by composers
willing to work for the bandoneon, he wrote
some valuable examples concerning this subject.
Fortunately he made this material available to us.
It consists of an explanatory text which is accompanied by excerpts and sound
examples. The original text was written in Spanish. Many members of the
have offered spontaneously to make the translation. I'm really pleased
of the enthusiasm to collaborate with this project.
The quality and the usefulness of the contents depends finally on the presented questions in the future. The user is asked to direct his doubts to the author directly. If the subject is of general relevance, he will try to find an answer.