#bandoneon

Dandelions (C.Constantini) His Instagram @constantini_music

Dandelions by Claudio Constantini 

Claudio Constantini (b. 1983) is a multiinstrumentalist (pianist, bandoneonist) and composer born in Peru and currently living in Spain. Known for his eclectic nature, he feels at home in a variety of musical genres. He has garnered one of the widest followings on social media for a classical instrumentalist. 

班東尼手風琴（bandonion）或稱班多鈕手風琴（bandoneón）是一種在阿根廷和烏拉圭特別流行的手風琴。它是大多數探戈樂團的典型樂器。與六角手風琴家族的其他成員一樣， 是一種日耳曼琴體系，採用亨里齊（Heinrich Band）劃分的雙音布局。雖說原本想作為小教堂管風琴的替代，很快世俗化。因為班多鈕手風琴十九世紀在阿根廷風靡一時；它被握在雙手之間，透過拉動和推動風箱中的空氣來演奏，透過按下樂器的按鈕將空氣引導到一組調好的金屬簧片中。與大多數手風琴不同，班多鈕總是使用相同的簧片組來產生聲音，通常沒有手風琴上常見的音調開關。儘管如此，透過使用各種風箱壓力和其他技巧，班多鈕可以演奏得非常富有表現力。由於左側有木箱，所以左手和右手的音色不同，左手的音色帶有鼻音和柔和的音色，而右手的音色通常明亮而尖銳。

The bandoneon (bandoneón) or bandonion is a type of concertina particularly popular in Argentina and Uruguay. It is a typical instrument in most tango ensembles. As with other members of the concertina family, it is held between the hands, and played by pulling and pushing air through bellows, routing it through sets of tuned metal reeds by pressing the instrument's buttons. Unlike most accordions, bandoneons always employ the same sets of reeds to produce their sound, and do not usually have the register switches common on accordions. Nevertheless, the bandoneon can be played very expressively, using various bellows pressures and other techniques. The left and right hand have different timbres due to the wooden box on the left side which gives the left hand a nasal and muted timbre, in contrast with the right hand which is usually bright and sharp. (wiki) 

Dino Saluzzi: Gorrión ( Cité De La Musique  1997)

"Gorrión" is a piece that breathes with the natural flow of a fleeting thought, where Dino Saluzzi’s bandoneon unfolds an intimate and contemplative discourse. The melody glides with significant pauses, as if each note carried the weight of a memory. The absence of instrumental accompaniment enhances the sense of solitude and melancholy, allowing each phrase to emerge with an almost whispered intensity.

The structure is free, without defined rhythmic constraints, reinforcing the feeling of improvisation and a sonic narrative that flows with the ebb and flow of emotions. Dynamic changes and unexpected harmonic modulations give the piece an unpredictable character, akin to the erratic flight of a sparrow. The use of silence as an expressive element grants the piece a reflective nature, where each pause seems to hold the echo of an untold story.