The Chronology

The following abbreviations may occur:

sa single action sounds only on opening (draw) or (mostly) closing (pressure)
da double action sounds on opening and closing
us unisonor same note on opening and closing
bs bisonor different note on opening and closing
av automatic valve permits air pumping

<3000 a.C. Chingmian mouth organ
3000 a.C. China sheng or tshiang [sa]
1762 Benjamin Franklin glass-harmonica (first use of the term harmonica)
1770 Kratzenstein, Denmark speaking machine
17xx Kirsnik, Denmark organ like harmonica
1790 Rakwitz, Sweden Abbé Vogler's orchestrion (transportable concert organ)
1806 Bernhard Eschenbach & Kaspar Schlimbach, handaeoline (until 1840) [sa]
  Königshofen (Bavaria) (first reed instrument without tubes)
1820 Buschmann, Berlin aura, mundaeoline (mouth organ) [sa]
1821 E. F. Chladni, AMZ publishes a detailed description of the sheng
1821 Buschmann, Berlin handharmonika or handaeoline (bellow on pressure) [sa]
1821 A. Häkl, Vienna physharmonika [sa]
1824 G. A. Reinlein, Vienna privilege for harmonicas called chinesiger
1825 G. A. Reinlein, Vienna aeol-harmonica
1825 first printed scores for Mundharmonika
1828   Hand-, Zug-, Ziehharmonika
1829 C. Demian, Vienna eoline, accordion
1825/9 Ch. Wheatstone symphonium
1829/30 Friedrich Mehwald, AMZ new-sheng [us, da]
1830 privilege, Vienna bellow harmonica
> 1830 Paris first accordion manufacture
1831/3 Ernst Leopold Schmidt Apollo lyra [us, da]
1835 Carl Friedrich Uhlig, Chemnitz Harmonika, later known as German Concertina
1836 Vienna export of chinesiger to Gera and Leipzig
1839 A. Debain, Paris orgues expressives, or harmonium
1839 J. Alexandre, Paris ``brevet de 10 ans'' concertina, piano-concertina
1839 Leclerc, Paris mélophone [sa]
about 1840 Heinrich Wagner, Gera introduces accordion manufacturing
1841 G. Regondi uses mélophone for a Wheatstone concertina [sa]
1844 Wheatstone proposes a double action concept and calls it concertina
1844 Band, Krefeld uses accordion for a concertina
1846 G. Regondi uses the term ``concertina'' for a mélophone
1854 Paris mélophonorgue (derivative of accordion)
1856 Joh. Schmitz, Krefeld the term bandonion created
1857 Hofmeister's Handbook scores for bandonion
1861 Quentin de Gromard, Bruxelles Cecilium
187x A. Ferenczy, Carl Burge, Ofenpest (H) Hungarian Mélophone
1890 Max Scheffler, Chemnitz Scheffler's Konzertina 102 or 104 voices [3 rows, bs]
1890 Georg Mirwald, Söllitz (Bavaria) Chromatine
1898 Richard Scheller, Hamburg Symphonetta
1900 distinction: bandonion = rhineisch
    concertina = chemnitzer and karlsfelder
1906 Heinrich Steinfurth, Mühlheim-Broich Piano-Bandonion [us] two paralel piano keyboards as buttons
1910 Richard Winkler, Hannover Bass Bandonion
1912 Kahnt & Uhlmann, Altenburg (Thuringia) Cantulia
1920 Hugo Stark, Rebesgrün (Vogtland) Chromatiphon
1925/6 Charles Péguri, Paris 142 voice Chromatic Bandoneon [us] build by Alfred Arnold
1926 Georg Strobl & Sohn, München Bayrisches Schrammelbandonion
1926 Otto Bergler, Erbendorf (Bavaria) Berga-Bandonion
1926 Karl Mecke, Gniebendorf Chroma-Bandonion
1926 Fritz Micklitz, Altenburg (Thuringia) Harmoniphon
1927 Ernst Kusserow, Berlin Kusserow Bandonion [us]
1928 Adolf Weber, Chemnitz Bandonola
1930 Friedrich Töpel, Tripis-Oberpöllnitz Bando-Piano using Matthey's table



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last update: 2017-02-07

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