Egg Substitute Patties

Fisarmonica: Paolo Soprani - Fondatore dell 'Italiana della Industry fisarmonica "

Type: Keyboard Piano Accordion-tailed, a very rare model,
color: red, but it also did in color white, ca. 1940.

The accordion has 37 keys, a register of door lever and 3 chests reeds, soprano in the chorus means 3. The bass has 80 buttons and contains 4 songs.

Training ergonomic keyboard caudata an accordion was invented for the primera time for the engineer Silvio Scandalli, bed & Ancona, Italy, in the year 1929.

The factory was already established to Paolo Soprani In the year 1863 in Castelfidardo / Italy. He was also primero Italian manufacturer of accordions.

His workmanship was merged with that of other Scandalli in the year 1987. From 1988 to 1995, both manufacturers signed, under the name of "The Accordion", but in this merger were part of the company "Farfisa" - short for truck manufacturers Riunite SpA Italian accordion, Castelfidardo, which was founded in 1946 for a year. Silvio Scandalli / bedroom, 2. (Paul) Septimus Soprani / Castelfidardo and 3. Alfredo Screen Numana. In the year 1987, Grupo Bontempi took possession of "Farfisa". "The Accordion" sign under the continuaró viejo name. Separated in 1995 and assumed the name of FARFISA "MENGHINI. In 2003, the company was merged with manufacturing MENGHINI "SEM", Recanati, who was co-founded in 1973 by Ubaldo Gabbanelli years. Beginning of this time, the manufactories firmaron under the name "Sound", Castelfidardo.

Accordion: Paolo Soprani - Founder of the Italian Accordion Industry

Type: Piano accordion with curved keyboard, a really rare model,

    colour: red, it was also produced in white colour, approx. 1940.

The accordion disposes of 37 keys, one switch register and 3 reed blocks in the treble. The bass-side owns 80 bass buttons and 2 reed blocks, i. e. 4 choirs.

The ergonomic formation of a curved keyboard of an accordion was the first time invented by the engineer Silvio Scandalli, Camerano / Ancona, Italy, in the year 1929.

This factory was already founded by Paolo Soprani in the year 1863 in Castelfidardo / Italy. He also was the first Italian manufacturer of accordions.

His factory was merged with that of Scandalli in 1987. From 1988 to 1995, Both factories traded under the name "The Fisamonica", But They Were In That constellation Also part of the factory "Farfisa" - abbreviation of the Italian accordion truck manufacturers Riunite SpA, Castelfidardo. Was founded in 1946 by a Farfisa. Silvio Scandalli / bedroom, 2. Paolo Soprani Septimus / Castelfidardo and 3. Alfredo Screen Numana. In the year 1987 Took Possession of the group Bontempi Farfisa. "The Accordion" furthermore continued to trade under old name ITS, But in the year 1995 separated from FARFISA Gave Itself and the name "MENGHINI. In the year 2003, the factory MENGHINI Was merged with the factory "SEM" Recanati, Which Was co-founded in the year 1973 by Ubaldo Gabbanelli. Since then, These three factories under the company trade marking "Sounds", Castelfidardo.

Acordeon: Paolo Soprani - Fundador de la "de la Industria Italian Accordion" (of Acordeon)

Type: Floor Acordeon-teclado caudado with a modelo muy rare

color: red, but has also in white, approx. 1940.

The accordion has 37 keys, a record handle and 3 voices in the treble. The bass has 80 buttons and contains 4 voices.

Training caudate ergonomic keyboard of the accordion was invented for the first time by the engineer Silvio Scandalli, Camerano / Ancona, Italy, in 1929.

Manufacturing and was founded by Paolo Soprani in 1863 in Castelfidardo / Italy. He was also the first Italian manufacturer of accordions.

Its Manufacturing was merged with the other that of Scandalli in 1987. From 1988 to 1995 both signed articles under the name "The Fisarmonica" but in this constellation were part of the firm "FARFISA - abrevación of Fabricche Fisarmoniche Riunite Italiane SpA, Castelfidardo, which was founded in 1946 by 1. Silvio Scandalli / Camerano, 2. (Paolo) Settimio Soprani / Castelfidardo and 3. Alfredo di Frontalini Numana. In 1987 the Group took up FARFISA Bontempi, "The Fisarmonica" sign was still under its old name. Separated in 1995 of FARFISA and assumed the name "Menghini. In 2003, the firm was merged Menghini SEM with the manufacture, Recanati, who was co-founded in 1973 by Ubaldo Gabbanelli. Starting from this time, manufacturing sign merged under the name "Suoni" Castelfidardo.

Akkordeon: Paolo Soprani - Gründer der Akkordeon-Industrie italian

Typ: geschweifte Tastatur, seltene wirklich ein Modell,

, Farbe: rot, is weißer wurde auch in Farbe produced, about 1940th

The accordion has 37 keys, a tab switcher and 3 choirs in Diskantteil. The bass shows 80 buttons and includes 4 choral groups.

The ergonomic design of a keyboard on a piano accordion was invented for the first time in 1929 by the engineer Silvio Scandalli, Camerano / Ancona, Italy.

Paolo Soprani The company was founded in 1863 in Castelfidardo, Italy, and was the first Italian accordion manufacturers.

Paolo Soprani 1987 merged with the company Scandalli. In 1995 the business ran - from 1988 both under the name "La Fisarmonica" and were part of the company "FARFISA" Fabricche Fisarmoniche Riunite Italiane SpA, Castelfidardo, 1946 by the first Silvio Scandalli / Camerano, 2 (Paolo) Settimio Soprani / Castelfidardo and 3rd Founded Alfredo Frontalini Numana Tues. FARFISA was acquired in 1987 by the group Bontempi. "La Fisarmonica" changed its name still below its name. But in 1995 she separated from FARFISA and was named "MENGHINI. MENGHINI was founded in 2003 with the company "SEM", Recanati, the 1973 co-founded by Ubaldo Gabbanelli, fused to that date under the symbol to operate "Suoni" Castelfidardo.

© ANI.PAS

University Toronto Admission Average 2010

thoughts ... Current events

I go the way .............
Monika Riedl

.. for the sun, the splints
for love with
and the truth does that!

Know the depth with
awareness of the world!

Recognize the dignity of being
and the level of the I!

Experience every day Truth of the light in the oneness of humanity associated

in nature and the living culture
develop at the stage of experiencing.

Go and live with joy, respect and dignity for every


with J-eden.

Puffy Ankles Drinking

"dance of the soul and sound - 06/19/2011

date	topic	venue
20:03 .- 27/03/2011	Health Week to Ayurveda and Liver Gallen and cleaning after Morit	Klaus Neuhaus am Bach / Burgenland
29/03/2011 19.00 clock	lecture "Ayurveda-morning routine," Application of VHS at Mag Forsthuber, Tel: 0664 600 79 760 or email: hof@volkshochschule.at	Hof / Salzburg
05/04/2011 18.00 clock	Ayurvedic nutrition and cooking class , Part I - Application of VHS in VS yard	Hof / Salzburg
12/04/2011 18.00 clock	Ayurvedic nutrition and cooking class , Part II - Application of VHS in VS	Hof Hof / Salzburg
16/04/2011	day seminar - "MANDALA paint" - Mandala create his own power after the dates of birth, color design - and recognize in	Hof / Salzburg
18.06. - Understand the signs of the times and use		08/01/2011
	2-day seminar" Neuner Calendar " "- taster in Faistenauer Summer Academy - please Register here (2nd appointment on 09/24/2011)	Faistenau
08/27/2011	day seminar, "Lilith - the universal woman power - the liberation and healing love" you discover, heal and live with joy (2nd appointment on 26/11/2011)
24/09/2011	"dance and sound of the soul" - day seminar - details in March newsletter	Faistenau
26/11/2011	day seminar "Lilith - the universal woman power - the liberation and healing love" Discover, heal and live with joy

Here goes 's registration details for the health weeks.

And here you go for a more detailed description of the courses.

Ariel Steam Shower Complaints

News Info / weekly offers

Special Offers for February

(only while stocks last)

• Aloe Vera , 750 ml - Organic fresh vegetable juice instead of € 14.50 only € 9.90
• Ayurvedic body oils (for detoxification of the body during your spring makeover ideal) rather than € 24.90 for an introductory price of € 19.90 for Vata, Pitta and Kapha - we're happy
• Sweaty Hooded , burgundy in color with ornamental - from "Spirit of Om "instead of € 79.90 now € 39.95 - organic cotton
• various books in our area offer

sales (only while stocks last)

• sales of our" environment "Natural cosmetics - even smaller groups as at 1 / 2 price-you take the opportunity while supplies last
• sale of remaining stock div "Calendar 2011", tea cups, .......

teacups

"beautiful" designer teacups (with screen) and "Tea for One" Teapot currently at a special price!

teacup : instead of € 19.90 -> € 16, -

teapot : instead of € 28.90 -> € 25, -

Offer valid while supplies last.

Green And Pink Lines In Tv

Llossa John - Der deutsche Tangokönig

Birth: 27/07/1900 in Barcelona / Spain
: 05/21/1957 in Salzburg, Austria, by a stroke / heart attack during a concert on stage at the cafes Winkler

Buried: in Hamburg Ohlsdorf, instead of a tomb or inscription of a quote in his grave stone, the first bars of his "Tango Bolero" engraved, a tango, with which he became world famous.

Growing up in a merchant family in Barcelona, he tried, though still a minor, escape with 16 years as a stowaway by Jerez, Andalusia to South America, but police caught him in Tenerife. After this adventure, his parents sent him to relatives in Cuba. There he learned of course, the South American rhythms such as Rumba, Bolero - know and tango. Although still young, he was fascinated by the tango. This meeting influenced him decisively. Juan started his own band, which consisted of 4 people and moved to this even to Mexico.

Back in Spain, his parents sent him to Germany to study music the Academy of Music in Darmstadt. 1923 Juan moved to Berlin in order to escape from the tutelage of his parents. Both his illustrious name and his experience predestined him to found his own "big orchestra" in no time. With this foundation began the golden hour of "Juan Baptiste Llossas Isidoro" in the twenties of the last century to beat. In 1929 opened Llossas the Dance Palace Femina "in Berlin. Both his name, and the sound of his orchestra soon became known and famous, he gave concerts in almost every entertainment temples of Europe.

the master composed the most beautiful melodies and his orchestra recorded many records. From 1942 to 1944, he became director of an orchestra at the front, the German soldiers to serve in Russia. He survived unscathed, that appeal.

After the war it took the British radio station in Germany, BFN - British Forces Network - as a conductor under contract. He had an extraordinary musical talent. Within 4 years he wrote 200! new tunes (almost every week, 1 Tango). He was probably the greatest tango composer of the century in the world.

Other famous Tango are:
"Tango Apasionado", "Povero gondolier", "Bella signora", "Olé Olé" "Primavera", "Majanah", "Carissima mia", "Mia bella Manolita" y "Jerez".

Llossas was born in November 1900, ie, in 2010 the 110th anniversary of his birth Time

Llossas Juan - El Rey del Tango Aleman

Nacido: 07/27/1900 in Barcelona
fallecido: ; 21/05/1957 en Salzburg / Austriaco, por un ataque de apoplejia durante un concierto - en escena in the Café Winkler.

buried: in Hamburg-Ohlsdorf, on his tombstone is engraved with the first contacts / bars of his "Bolero Tango" - a tango, this has become world famous.

Raised in a business family in Barcelona, at the age of 16 had taken refuge - even minor - as a stowaway from Jerez to South America, but the police finished their journey in Teneriffa. After this adventure, his parents sent on to the parantella in Cuba. Here are naturally found South American rhythms such as Rumba, the Bolero and the Tango - still young, he was fascinated by it. Estes encounters he had a decisive influence.

propria John founded his band, composed of 4 and gave up traveling with this concert in Mexico. Returned home, his parents sent to Germany to begin a study of music at the Academy of Art of Sound in Darmstadt, near Frankfurt. In 1923, John moved to Berlin to escape from the custody of their parents. Your name realm, their experiences and love for the predestined Tango will soon create a "Great Orchestra." With that "gave" the big time of John Baptiste Isidore Llosses in the golden years padas twentieth century. In 1929, Llosas opened the "Prom Palaciao Femina" in Berlin. Your name as the sound of his orchestra were soon known and famous scenes and gave almost all the temples of entertainment in Europe.

Master wrote the most beautiful melodies and his orchestra recorded many albums. From 1942 to 1944 he became leader of an orchestra to entertain the German troops in Russia. This mission survived unscathed.

After the war, the British broadcaster in Germany, BFN - British Forces Network, forced him to work as a leader.

The possessed an extraordinary musical talent. Within 4 years he composed 200 (!) New melodies Tango (Tango approx. 1 every week). Probably was the greatest Tango composer of his century in the world.

tango Other popular titles include:
"Passionate Tango", "Povero Gondoliero", "Bella Signora", "Olé Olé", "Spring", "Majanah", "Carissima mia", "Mia bella Manolita "and" Sherry. "

Llosses was born in November 1900, ie in the year 2010 by one hundred ten (110) years.

Juan Llosses - The German King of Tango

Born:              on the 27th of July, 1900 in Barcelona / Spain
Day of death:    21.05.1957 in Salzburg / Austria through a heart attack / apoplexy during a concert on the stage of the Cafe Winkler.

Burried:             in Hamburg – Ohlsdorf; instead of an epitaph / quotation, in his gravestone were engraved the first bars of his „Tango-Bolero“, a Tango, with that he got world-famous.

Grown up in a family of traders in Barcelona at the age of 16 he tried to escape  - although still not of age – as stowaway from Jerez to Southamerica, but the Police catched him on Teneriffa. After this adventure, his parents sent him to their relatives in Cuba. There he naturally met with the rhythms of South America as the Rumba, Bolero – and the Tango – although young, he was fascinated about the Tango. These encounters influenced him decisively.

Juan founded his own band, consisting of 4 persons and with them he gave concerts even in Mexico. - Back at home in Spain, his parents sent him to Germany to begin a study of music at the academy of the art of sound in Darmstadt, near Frankfurt. In 1923, Juan moved to Berlin to escape the tutelage (treating like a child) on the part of his parents.

His fine sounding name as well as his experiences predestined him to create a “Grand Orchestra” in a very short time. With that creation, the great hour had come for “Juan Baptiste Isidoro Llossas” in the twenties, last century. In the year 1921, Llossas inaugurated the “Dance Palace Femina” in Berlin. His name as well as the sound of his orchestra were soon well known and popular and was seen in almost all entertainment temples of Europe.

The master composed the most beautiful melodies and his orchestra recorded many discs. From 1942 till 1944 he became conductor of an orchestra at the front to entertain the German troops in Russia. He survived that mission unhurt.

After the war, the British station in Germany BFN – British Forces Network – obliged him to work as conductor. He possessed an extraordinary musical talent. Within 4 years he composed 200 (!) new melodies (approx. 1 Tango each week). Probably he was the greatest composer of Tango in that century in the world.

Other famous titles of Tangos are:
„Tango Apasionado“, „Povero Gondoliere“, „Bella Signora“, „Olé Olé“, „Primavera“, "Majanah", "Carissima mia", "Mia bella Manolita" y "Jerez". he

Llossas was born in November 1900, in the year 2010 it's hundred and ten (110) years ago.


© ANI.PAS

Jc Penney Salson Prices

Deutsches Bandoneón (Concertina) Arnold, diatonisch, gebaut ca. 1920 - 1930

Manufacturer: not clear - probably Arnold
Dimensions of body: height 22.5 cm, depth 24.5 cm, width 32 cm

products that this instrument is an "attic find". After cleaning, it turned out to be a rare and luxurious model. Although the manufacturer is not known, it is possible that the bandoneon was manufactured by A-Arnold. Unfortunately missing from the center of the metal ornament the appropriate letter (probably it was destroyed by rough handling).

A / ELA, the abbreviations of the manufacturer Ernst Louis Arnold, which was founded in 1864 in Carl Field / Saxony. Instruments were played by this manufacturer Astor Piazzolla and it is said that these were the best for all time, ever made were.

all sides of the case, except the bottom are covered with inlays, which are incorporated into the wood with mother of pearl. The button heads wear this material. Furthermore, these sites are equipped with 6 sound-holes. Decorated with ornaments that were carved into the wood and cut features, the bandoneon has an attractive appearance and an exceptionally good quality.

The edges of the housing are flat and the corners have a metal plate, which symbolizes a stylized lyre. The bandoneon has over 27 buttons in the treble and bass of over 22 buttons that is, that this diatonic instrument Has 98 single tones. The instrument was played on immediately after purchase.

resolution of existing conceptual confusions:

The name comes bandoneon / bandoneon of the music teacher and instrument dealer Heinrich Band of Krefeld. At his instigation, however, the concertina in several tones mid-19th Century changed (1850). He then gave this instrument, more of the concertina, his name

BAND ONION, just great!

What came out when this change was called the "Rheinische pitch. The other concertinas had either the Carl Fields or the "Chemnitzer pitch.

A journal from the 1896 assessment but notes already that are bandoneon and concertina "one" !

is worth noting that Heinrich Band was a manufacturer of tools never himself.

bandoneon (concertina) Arnold Aleman, diatonico,
construido aprox. 1920 - 1930

Fabricante: not recognized - probably Arnold
Box measures: Height 22.5 cm, 24.5 cm Fund, width 32 cm

This instrument is a "Finding of a loft." After some cleaning is determined to be a rare model and luxury. Although the manufacturer is unknown, there is the possibility that this is a Bandoneon / Concertina manufacturing A-Arnold. Unfortunately missing the central point (was removed perhaps because inadequate treatment or failure) of the metal ornament. A / ELA were manufacturing abbreviations Ernst Louis Arnold was founded in 1864 in Carlsfeld / Saxony, Germany. Bandoneones of this manufacturing were also touched by Astor Piazzolla - said to be the best Bandoneones forever.

All sides of the box, except the bottom are overseed of inlaid wood inlaid with mother of pearl material. The heads of the buttons also brings this material. In addition, each side is equipped with 6 inlaid sound openings. Adorned with ornaments carved or sawn timber're everywhere, this Bandoneon is well proportioned and has an extraordinary finish. The box corners are beveled and each comes with a small metal lira.

The Bandoneon sample 27 in the treble buttons and 22 buttons in the bass part is that this instrument has 98 diatonic tones individual. No repairs were necessary to play with.

Dissolution of confusion about the ideas:


The name Bandonion / Bandoneon is professor of music and instruments merchant Heinrich Band of Krefeld / Lower Rhine , Germany. For his initiative Konzertina / Concertina however, was amended in tones in the middle of the nineteenth century (ca. 1850). In view of this, he gave this instrument more accurate the Konzertina, his name

BAND-ONION, just great!

result of this modification, the pitch was named "tone / level Rhine - Rheinische Tonlage." The other Konzertina / Concertinas had to be the "Carlsfelder" or the "Chemnitzer tone / level."

Already a technical journal in 1896 observed that the Bandonion / Bandoneon and Konzertina / Concertina are "One" !

must hold, Heinrich Band that it was never an instrument maker.

German Bandoneon (Concertina) Arnold, diatonic,
Constructed approx. 1920 - 1930

Manufacturer:                not recognizable – probably Arnold
Measures of the case :  Height 22,5 cm, Depth 24,5 cm, Breadth 32 cm

This instrument is a “Discovery of an Attic”. After some cleanings it resulted to be a rare and luxurious model. Although the producer is unknown, there is a possibility that this Bandoneon could be manufactured by A-Arnold. Unfortunately the letter is missing in the center (perhaps it was destroyed through bad treatment) of the metal ornament. A/ELA were the abbreviations of the manufacturer Ernst Louis Arnold, that was founded 1864 in Carlsfeld / Saxony, Germany. Instruments of this manufacturer were also played by Astor Piazzolla and are said to be the best Bandoneons for all times.

All sides of the box, except the underside are strewn with works of inlay, inserted in the wood with mother-of-pearl. Also the heads of the buttons carry that material. Furthermore, each side with inlay is equipped with 6 sound wholes. Adorned with ornaments, that are carved or sawn in the wood, this Bandoneon disposes of a nice shape and owns an extraordinary good quality. The edges of the case are bevelled and each of them carries a small lyre of metal.

The Bandoneon shows 27 buttons in the treble and 22 buttons on the bass-side i.e., that this diatonic instrument disposes of 98 individual tones. No repairs were necessary to play on it.

Dissolution of confusions in view of existing ideas:

The name Bandonion / Bandoneon comes from the music teacher and trader of instruments Heinrich Band, Krefeld / Rhineland, Germany. At his instigation however, the Konzertina / Concertina was modified in some tones in the middle of the 19th century (approx 1850). With regard to that, he gave this instrument, more precise the Konzertina, his name :

BAND-ONION, simply brilliant !!

What came out of that modification was called the “Rhineland Pitch – Rheinische Tonlage”. The other Konzertinas owned eather the “Carlsfelder Pitch” or the “Chemnitzer Pitch” - both Saxony.

A specialist journal from the year 1896 already found out that the Bandonion resp. Konzertina are “One” !!

We have to record, that Heinrich Band himself never was a manufacturer of instruments.

© ANI.PAS

How Old U Have To Be Towork At Auto

Concertina (Bandoneon) German diatonic, with individual tones, built approx. 1880-1890

Fabricante: Carl Friedrich Uhlig, Chemnitz / Sachsen, Germany
founded: 1819, 1871 cease
since 1871 continued under the name F. Lange,
cessation: unknown

Box size: + Fund Height 21 cm, width 32 cm

Bandonion / Konzertina = Grafia
Bandoneon = Grafia German English / Castilian
English Concertina = Grafia

Argentine tango has made the world-renowned Bandoneon. The precursor with the name "Konzertina" in any case, was invented at the beginning of the year 1830 in Chemnitz / Saxony, Germany by Carl Friedrich Uhlig. Heinrich (Henry) BAND, a musician from Krefeld / Lower Rhine, Germany, failed to modify the Konzertina, circa 1850 and called this instrument

Band-onion / Bandonion.

In eastern Germany, the bandonion was built - on - under the names

Konzertina / Concertina.

Both instruments, however, were equal, one as l'another.

Since 1871, the manufacturer CF Uhlig signed under the name F. Lange. There in Chemnitz / Saxony, seat of this manufacture, Bandonions first band was established in 1874. The Bandonion was brought by German immigrants to Argentina. But the impression

ideal, was found in the Bandoneon Tango Argentino, so that both could take the triumphal march around the world simultaneously. The sound of this instrument, wailing, crying, flattering, also hard, even today exerts a fascination listeners unwavering. When

, when the air passes the blower, the Bandoneon seems to live. The Argentine writer Ernesto Sabato, looked mysterious fame even further, that an instrument Germany / German, brought to Argentina, was destined to give expression to the sorrow of the people of the Rio de la Plata.

De Bandoneon make it suitable for tango was extended by 142 tones. Stars under the Bandoneones are instruments manufacturer Alfred Arnold, Carlsfeld / Saxony, Germany. Estes instruments show a dual brand Logo A (double AA brand). Even today, they're instruments extradordinario course. Quality was founded in the steel tabs. The adze was with great fervor and subjected to a special coating to increase elasticity, leading to a unique sound. AA

firm to cease its operations early 1960. The know-how of special finish, guarded by a secret servera della manufacturing, unfortunately, could not be deciphered. The AA company, founded in 1911, was dedicated to being the most perfect world Bandoneones manufacturing.

Deutsche Concertina / Bandonion, mit diatonischen Einzeltönen,
built about 1880 - 1890

Manufacturer: Carl Friedrich Uhlig, Chemnitz, Saxony
Founded in 1819, abandoned 1871,
; 1871 operating under the name F. Lange,
; abandoned: unknown

dimensions of the case: height + depth of 21 cm, width 32 cm

bandoneon / concertina = German spelling
bandoneon = English / Castilian spelling
Concertina = spelling English

The Argentine Tango has made the band famous Onion. The precursor, called "concertina" but was invented in Chemnitz, Saxony, beginning in 1830 by Carl Friedrich Uhlig. Heinrich Band, a musician from Krefeld, Rhineland, had this instrument about anno 1850 change, calling it, as now, known around the world: onion

band.

In East Germany, this instrument has also been made under the name concertina / Concertina . Both instruments, bandoneon and concertina are but one!

The harmonica manufacturer CF Uhlig changed its name since 1871 under the name F. Lange. There, in Chemnitz, at the headquarters of this company was created in 1874 the first volume Onion Association.

The bandoneon was introduced by German immigrants in 19th Century brought to Argentina. The ideal was expressed but the bandoneon Argentine tango, so that both could compete at the same time to conquer the world. The plaintiff, coaxing, crying and hard sound of this instrument still exerts an unbroken fascination for his audience.

It seems as if it lives when the air flows through the bellows. The Argentine writer Ernesto Sabato questioned, even the mysterious call from the distance the a Germanic instrument brought to Argentina, destined to the grief of the people of the Rio de la Plata to express.

make suitable order the bandoneon tango, it was expanded to 142 tones. As the star of the bandoneon bandoneon not host any of Alfred Arnold, Carl Field, Saxony. Instruments, whose logo is an AA exhibit (Marca doble A), are still standing because of their superior sound quality in a high rate. The quality was in the spring steel tongues. blued with great heat, they were still subject to an additional process to the elasticity and thus to increase the sound effect. The AA company ceases operations in the 1960s. The know-how of the specific procedure, however, when closely guarded corporate secret was, unfortunately, still not been deciphered. The AA company, founded in 1911, was destined to become the perfect supplier of bandoneon in the world.

German Concertina / Banondeon, with separate diatonic tones,
constructed approx. 1880 - 1890

Manufacturer: Carl Friedrich Uhlig, Chemnitz, Saxony, Germany
founded: 1819, closed down: 1871
                           since 1871 continuation under the name F. Lange,
                           closed down: unknown

Measures of the box: Height + Depth 21 cm, Breadth 32 cm

Bandonion / Konzertina = German way of spelling
Bandoneon = English / castellano way of spelling
Concertina = English way of spelling

The Argentinian tango has made the Bandoneon a world-famous instrument. The precursor with the name „Konzertina“, however, was invented at the beginning of the year 1830 in Chemnitz / Saxony, Germany by Carl Friedrich Uhlig. Heinrich BAND, a musician of Krefeld / Lower Rhine, Germany, ordered to modify the Konzertina, approximately in the year 1850 and he called this instrument:

Band-onion / Bandonion.

In the East of Germany, the Bandonion was constructed furthermore under the names

Konzertina / Concertina.

Both instruments, beyond doubt, were the same, one like the other.

Since 1871, the manufacturer C. F. Uhlig firmed under the name F. Lange. In Chemnitz / Saxony, Germany, there was also founded the first Bandonion Band in the year 1874.

The Bandonion was brought to Argentina through the German immigrants. But the Bandoneon found it's ideal impression in the Argentinian tango, with the effect, that both could start their triumphal march simultaneously around the world. The sound of this instrument, sometimes lamenting, crying, flattering and also hard-sounded, leaves still today a strong impression on it's audience.

It seems as if it is living as soon as the air flows through the bellows. The Argentinian author, Ernesto Sabato, even analyzed the mysterious fame from so far away that was brought through a German instrument to Argentina, predestined in order to give expression of the grief of the people of the Rio de la Plata.

To make the Bandoneon suitable for the tango, it was extended to 142 tones. The stars under the Banondeons are the instruments of the manufacturer Alfred Arnold, Carlsfeld / Saxony, Germany. These instruments show a Logo, shaped with a double A (marking double AA). Still today, these instruments have an extraordinary selling price. The quality was founded in the processing of the steel reeds. They were coloured to blue under great heat and treated with a special finishing in order to raise the elasticity that led to an unbeatable sound.

The company finished it's activities in the early 60th, last century. The know-how of the special processing however, severely guarded as a secret of the family, could unfortunately until now, not be deciphered. The company AA, founded in 1911, was doomed to become the world's perfects manufacturer of Bandoneons.

©ANI.PAS

Are Sallie Mae Loans Tax Deductible

German Harmonica, constr. approx. 1900, Meinel & Herold

Manufacturer: Meinel & Herold, Klingenthal / Saxony, Germany, founded: 1893, closed down: unknown

Type: Single keyboard instrument in one row, diatonic.

Reproductions of this type of instrument are sold today as “Cajun Folk Button Accordion” by   Hohner Company.

Measures of the box: Height 26 cm, Breadth 16,5 cm, Depth 14,5

Features:

All valve keys are lying open in the treble. The treble part is provided with 10 buttons and 1 register. 2 diatonic reed blocks are located inside of it.

The 2 bass keys and the air valve are located in the so called “Brummkasten”. It is called “growl box” because the 3 reed plates, fixed on the underside of a small board, make a noise, that reminds to the growling of a bear. The inside of the bass part disposes on the one side of 1 large reed plate with 3 steel voices and 3 air valves and on the other side of 2 reed plates, 1 with 2 steel voices and 2 air valves, as well as 1 with 1 steel voice and 1 air valve (vide also photos).

The good condition of this instrument allowed a direct use of it.

German harmonica, built about 1900
Manufacturer: Meinel & Herold Klingenthal, Saxony, founded in 1893, abandoned: unknown

Type: row, German instrument, diatonic

copies are still sold as "Cajun Folk Button Accordion" by the Hohner company.

dimensions of body: height 26 cm, width 16.5 cm, depth 14.5 cm

features: All butterfly valves are open on the treble side. This is equipped with 10 buttons and a register. Riverside are 2 diatonic tune sticks.

The bass buttons and the air valve located in a small package, the so-called "humming box". Hum box probably because the 3 side of the Inn on a board mounted reeds produce sounds that are reminiscent of the roar of a bear. " On one side of the inner housing, a large voting panel is with 3 steel blades and 3 valves, on the other side are two reeds, 1 with 2 steel blades and 2 valves and one with a steel blade and a valve (also see photo).

The instrument was the purchase in good, playable Zustand.

German Harmonica, built approx. 1900, Manufacturer: Meinel & Herold Klingenthal / Saxony, Germany Founded: 1893, cessation: unknown

Type: A German instrument in a row and diatonic. Reproductions of this type of instrument is sold today as "Folk Cajun Button Accordion, Hohner manufacturing.

Box measures: height: 26 cm, width: 16.5 cm, 14.5 cm depth

Features:

All valve piston are outside the treble. The part of the treble was equipped with 10 Botton and a record. Diatonic 2 supports are built into the interior.

The 2 buttons below and air valve are installed in the "Brummkasten," meaning in English: "box growl." The so called because the 3 reeds, fixed on the underside of a small table, makes a noise osso remember a grunt.

The inside of the bass part is equipped with a side plate 1 large voices with 3 tabs and 3 steel air valves and other side 2 reeds, 1 with 2 tabs and 2 steel air valves and the other 1 with 1 and 1 legüeta steel air valve (vide also the pictures).


The good condition of this instrument allowed for direct use.

© ANI.PAS

Hiring Students Brampton

Accordian mellow, year of construction: approx. 1950

Manufacturer: Accordiana Melodiosa, Castelfidardo, Italy, Founded 1929 * 1951 finished

At the time of the purchase, this compact, golden brown accordion WAS found to be in an amazing good condition. Except that we had to renew the gasket of the bellows, the instrument had only to be cleaned. On the inside of the bellows we found a stamp that we read with: Hans (Geiser?), Meran, Laubengasse (South Tyrol / Italy). This points out that the accordion was well repaired in the meantime.

The treble disposes of 41 piano keys, 2 push switches and 3 voices. This push switch system is considered to be the precursor of the modern register switches. The bass part shows 120 buttons, 5 voices inside and one push switch.

First of all we assumed, that this accordion could be an Accordiana made by Excelsior; but regrettably that proved not to be true.

Accordiana Melodiosa, built about 1950
Manufacturer: Accordiana Melodiosa, Castelfidardo, Italy, founded in 1929 * 1951 abandoned


This compact, golden-brown accordion was the purchase in surprisingly good condition. Except for the renewal of the boot seals it took only be cleaned.
One is located on the inside of Balgrahmens marking: Hans (? Geiser), Meran, Portici. This indicates that the instrument was repaired in the meantime well.

The treble side has 41 piano keys, 2 tab switch and includes 3 choirs. These two pressure switches can be used as precursors of the modern register circuits are considered.
On the bass side, there are 120 buttons, which are assigned to five choirs, and a pressure switch.

The assumption that in mind, where the accordion is a Accordiana Excelsior It could not be confirmed.

Accordiana Melodiosa, año de Construcción: aprox. 1950

Fabricante: Accordiana Melodiosa, Castelfidardo, Italia, 1929 * fundado cesado 1951

At the time of purchase, this golden accordion - Brown was in surprisingly good condition. Except that we had to renew the boards of the bellows, the instrument only had to be cleaned. Inside the bellows we had found a stamp that read: Hans (Geiser?), Meran, Laubengasse (South Tyrol / Italy). This indicates that the instrument has already been repaired in the meantime.

The soprano has 41 keys, 2 and 3 pressure records voices. These pressure recordings happen to be the precursors of modern record changes. The bass part shows 120 buttons, 5 voices and 1 inside pressure recording.

Our first assumption was that this accordion can be a Accordiana - made by Excelsior, but regrettably that imagination was not worthy of our faith.

© ani.pas

Recipes For The Cakes That Buddy Uses

Hearing Aid Compatibility

Hearing Aid Compatibility
for Wireless Telephones FCC
Consumer Facts

Background

The Hearing Aid Compatibility Act of 1988 (HAC Act) generally requires that the Federal Communications Commission (FCC) ensure that telephones manufactured or imported for use in the United States after August 1989, and all “essential” telephones, are hearing aid-compatible. When Congress passed the Act in 1988, it specifically exempted “telephones used with public mobile services” (wireless telephones) from these requirements. To ensure that the HAC Act kept pace with the evolution of telecommunications, however, Congress granted the FCC a means to revoke or limit the exemption for wireless telephones. On August 14, 2003, the FCC determined that continuation of a complete exemption for wireless telephones would have an adverse effect on individuals with hearing disabilities, and that limiting the exemption was technologically feasible and in the public interest. Based upon these findings, the FCC established rules for the hearing aid compatibility of digital wireless phones.

What Makes a Phone Hearing Aid Compatible?

Hearing aids operate in one of two modes – acoustic coupling or telecoil coupling. Hearing aids operating in acoustic coupling mode receive and amplify all sounds surrounding the user; both desired sounds, such as a telephone’s audio signal, as well as unwanted ambient noise. Hearing aids operating in telecoil coupling mode avoid unwanted ambient noise by turning off the microphone and receiving only signals from magnetic fields generated by telecoil-compatible telephones. In the United States, about 25-30 percent of hearing aids contain telecoils, which generally are used by individuals with profound hearing loss.

A telecoil is a small, tightly-wrapped piece of wire inside the hearing aid that, when activated, picks up the voice signal from the electromagnetic field that leaks from compatible telephones. While the microphone on a hearing aid picks up all sounds, the telecoil will only pick up an electromagnetic signal from the telephone. Thus, users of telecoil-equipped hearing aids are able to communicate effectively over the telephone without feedback and without the amplification of unwanted background noise. Telecoils can only fit in two styles of hearing aids: “In-The-Ear” and “Behind-The-Ear” aids. Smaller hearing aids are not large enough to fit the telecoil. Many people report feedback (or squealing) when they place a telephone next to their hearing aid. When placed correctly, telecoils can eliminate this feedback because the hearing aid microphone is turned off and the hearing aid only amplifies the signal coming through the telecoil. Some hearing aid users may need to place the telephone slightly behind the ear rather than directly over the ear to obtain the clearest signal.

The ability to make wireless telephones compatible with hearing aids also depends in part on other technical and design choices made by carriers and manufacturers. For example, for technical reasons, it is easier to meet hearing aid compatibility standards on systems that use a Code Division Multiple Access (CDMA) air interface (including Verizon Wireless and Sprint Nextel) than on systems that use a Global System for Mobile (GSM) (such as AT&T Mobility and T-Mobile) air interface. It is also easier to meet hearing aid compatibility standards in phones with clamshell (or “flip”) designs than in “candy bar” or other styles. Therefore, consumers may generally find more models that meet hearing aid compatibility standards available from CDMA carriers and in clamshell designs.

What Are the FCC’s Requirements for Hearing Aid Compatibility for Digital Wireless Telephones?

Analog wireless telephones usually do not cause interference with hearing aids. Digital wireless telephones, on the other hand, sometimes cause interference because of electromagnetic energy emitted by the telephone’s antenna, backlight, or other components. Therefore, the FCC has adopted specific hearing aid compatibility rules for digital wireless telephones.

The standard for compatibility of digital wireless phones with hearing aids is set forth in American National Standard Institute (ANSI) standard C63.19. ANSI C63.19 contains two sets of standards: an “M” rating (originally a “U” rating) from one to four for reduced radio frequency (RF) interference to enable acoustic coupling with hearing aids that do not operate in telecoil mode, and a “T” rating (originally a “UT” rating) from one to four to enable inductive coupling with hearing aids operating in telecoil mode. A digital wireless handset is considered hearing aid-compatible for acoustic coupling if it meets an “M3” (or “U3”) rating under the ANSI standard. A digital wireless handset is considered hearing aid-compatible for inductive coupling if it meets a “T3” (or “U3T”) rating under the ANSI standard.

In addition to rating wireless phones, the ANSI standard also provides a methodology for rating hearing aids from M1 to M4, with M1 being the least immune to RF interference and M4 the most immune. To determine whether a particular digital wireless telephone is likely to interfere with a particular hearing aid, the immunity rating of the hearing aid is added to the rating of the telephone. A sum of four would indicate that the telephone is usable; a sum of five would indicate that the telephone would provide normal use; and a sum of six or greater would indicate that the telephone would provide excellent performance with that hearing aid.

Are Hearing Aid-Compatible Digital Wireless Phones Available?

To ensure that sufficient hearing aid-compatible digital wireless phones complying with the ANSI standard are available, the FCC in 2003 and 2008 set benchmark dates by which digital wireless handset manufacturers and service providers had to gradually increase the number of hearing aid-compatible digital wireless phones available to consumers. The currently applicable benchmarks are as follows:

For Acoustic Coupling

*

Beginning June 6, 2008, each handset manufacturer must meet at least an M3 rating for one third of the handset models that it offers to service providers per digital air interface. If one third of the manufacturer’s handset models works out to a fraction, the manufacturer may round the result down.
*

Beginning June 6, 2008, each nationwide wireless service provider (Verizon Wireless, AT&T Mobility, Sprint Nextel, and T-Mobile) must meet at least an M3 rating for 50 percent or eight of the handset models it offers to consumers, whichever is less, per digital air interface. For service providers that do not meet the 50 percent threshold, the minimum number of compatible models required will increase to nine on February 15, 2009, and ten on February 15, 2010.
*

Beginning September 7, 2008, each non-nationwide wireless service provider must meet at least an M3 rating for 50 percent or eight of the handset models it offers to consumers, whichever is less, per digital air interface. For service providers that do not meet the 50 percent threshold, the minimum number of compatible models required, will increase to nine on May 15, 2009, and ten on May 15, 2010. Until September 7, 2008, these service providers must offer at least two M3-rated handset models per digital air interface.



For Inductive Coupling

*

Each handset manufacturer must offer to service providers at least two T3-rated handset models per digital air interface. In addition, manufacturers must ensure that 20 percent of their handset models per air interface meet at least a T3 rating beginning February 15, 2009, 25 percent beginning February 15, 2010, and one third beginning February 15, 2011. If these percentages work out to a fraction, the manufacturer may round the result down; however, any manufacturer offering four or more handset models over a digital air interface must offer at least two that meet a T3 or higher rating.
*

Beginning June 6, 2008, each nationwide wireless service provider (Verizon Wireless, AT&T Mobility, Sprint Nextel, and T-Mobile) must meet at least a T3 rating for one third or three of the handset models it offers to consumers, whichever is less, per digital air interface. For service providers that do not meet the one third threshold, the minimum number of compatible models required will increase to five on February 15, 2009, seven on February 15, 2010, and ten on February 15, 2011.
*

Beginning September 7, 2008, each non-nationwide wireless service provider must meet at least a T3 rating for one third or three of the handset models it offers to consumers, whichever is less, per digital air interface. For service providers that do not meet the one third threshold, the minimum number of compatible models required will increase to five on May 15, 2009, seven on May 15, 2010, and ten on May 15, 2011. Until September 7, 2008, these service providers must offer at least two T3-rated handset models per digital air interface.

These numbers are minimum requirements, and manufacturers and service providers may offer more qualifying handsets if they choose. In addition, manufacturers are required to partially refresh their offerings of hearing aid-compatible phones each year, and service providers must offer a range of hearing aid-compatible phones with differing levels of functionality.

The FCC allows a “de minimis” exception to its requirements for handset manufacturers and wireless service providers offering a small number of hearing aid-compatible handsets. Under this exception:

*

Wireless service providers and handset manufacturers that offer two or fewer digital wireless handsets in the U.S. for a particular air interface need not offer hearing aid-compatible handsets.
*

Wireless service providers and handset manufacturers that offer three digital wireless handsets in the U.S. for a particular air interface must offer at least one hearing aid-compatible handset model.

Are There Labeling and Testing Requirements?

Packages containing hearing aid-compatible handsets must be explicitly labeled and must include detailed information in the package or product manual. Wireless service providers must offer a means for consumers to test hearing aid-compatible handsets in their owned or operated retail stores.

Some hearing aid manufacturers are voluntarily including information about hearing aid compatibility with their products. Wireless service providers are also offering similar information in their owned or operated retail stores and are training employees to help persons with hearing aids. This information and the package labeling required by the FCC help persons with hearing aids make fully-informed decisions about purchasing their hearing aid-compatible wireless phones.

Beletec AG - Ihr Partner für Telecommunications!

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Searching the accordion in the Stamp! Accordion

Accordion / Barrel-Organ - motives stamp from Germany, Poland, Switzerland and Cambodia; Not only interesting for philatelists.

By the way: The composition of the Cambodian stamp is Called "The three musicians" and WAS 1944 painted in oil on canvas by the French painter and graphic-artist Fernand Léger, born 04.02.1881 in Argentan, in deceased 17.08.1955 Gif-sur-Yvette.

On the search for the accordion in the stamp! not only interesting for collectors, stamp designs from Germany, Poland, Switzerland and Cambodia -

accordion / organ.

the way, the composition of the Cambodian stamp was called "The Three Musicians" and in 1944 in oil on canvas by the French painter and graphic artist Fernand Léger, born 04/02/1881 in Argentan, d. 8/17/1955 in Gif-sur- Yvette painted.

Looking

accordion on the label!

Accordion / Organillo - Reasons stamps of Germany, Polandia, Switzerland and Cambodia, not only interesting for collectors.

Otherwise: The Cambodian seal composition is called "The Three Musicians" and was painted in oil on canvas 1944 by Pintador / French graphic artist Fernand Léger, was born in Argentan 04.02.1881, died 17.08.1955 in Gif -sur-Yvette.

© ani.pas

Cellular Respiration Lab 5 Ap Bio

Gioconda = "The Serene (Woman)," Manufacturer: unknown, year of construction: approx. 1939

Gioconda - Our first Thought WAS to take this instrument for an Italian one. However in the part of the bass we found some stamps, that proved to be of German origin. One stamp showed the abbreviation D.R.G.M. that means “Deutsches-Reichs-Gebrauchs-Muster” or „Utility patent of the German empire".

It has a compact shape, one can play on it and despite of its age, it is pretty good preserved. The exact year of construction as well as the manufacturer are unknown, but we presume, that it was constructed from the company Ernst Meinl, Graslitz, Germany at the end of the thirtieth last century. The producer used small imprinted triangles and numbers for the identification of its reed plates.

The instrument disposes of 34 piano keys with 3 choirs in the treble and 80 bass buttons with 5 choirs as well as one push switch in the treble. Who knows something more about this type of accordion?!

By the way: Gioconda is the best-known Italian opera of the composer Amilcare Ponchielli, who was born 1834 in Paderno Fasolare / Italy and died 1886 in Milan. The opera is based on the drama “Angelo, tyran de Padue (Padova), that was written by Victor Hugo. In Cremona still exists a monument of Ponchielli (pronunciation ch = k). To his students belonged among others also Giacomo Puccini.

Also the “Mona Lisa” (Oil by Leonardo da Vinci, Louvre / Paris) is called “Gioconda”. Why? It’s because she smiles serenely.

accordion Gioconda = "The Joyous", Manufacturer: unknown, built around 1939

Gioconda - Our first assumption was that it would be, for this accordion at an Italian model. In the bass part, however, there were several punches, which indicated clearly to a German factory. A stamp was: DRGM, which stands for "Deutsches Reich-use pattern" means.

It is compact, playable and, despite his age amazingly well preserved. The small producers were impressed triangles and numbers to identify its reeds.
The exact year of construction and the Manufacturers, however, are unknown to us. We assume that it was built by Ernst Meinl, Graslitz the late thirties, the last century.

The instrument has 34 piano keys, 3 choirs in Diskantteil and 80 bass buttons with 5 voices in the bass part and a pressure in the treble.
anyone know anything more about this instrument?

way: Gioconda is the most famous Italian opera by Amilcare Ponchielli (born in 1834 in Paderno Fasolare / Cremona, died in 1886 in Milan) was composed. The opera is based on the drama "Angelo, tyran de Padu (Padua), which was written by Victor Hugo. Cremona is also an Ponchielli - Monument (debate ch = k). Among his students were also included Giacomo Puccini.

The "Mona Lisa" (painting by Leonardo da Vinci, Louvre / Paris) is called by the Italians "Gioconda." Why? Because these cheerful smiles.

Acordeón Gioconda = La Serena, Fabricante: Desconocido,
Año de Fabricación : aprox. 1939
Gioconda - Nuestra primera idea fue de considerar este instrumento de ser italiano. Pero en la parte del bajo hubimos encontrado some stamps that proved to be the German origin. One of the stamps showed the DRGM abbreviation meaning "-Deutsches Reichs-Gebrauchs-Muster" or "Utility Model German Empire."

The accordion has a very compact exterior is well prepared to play. Despite his age, in good condition. The precise year of manufacture and the manufacturer of this instrument are unknown, but we suppose that it was built by Ernst Meinl, Graslitz, Germany at the end of the thirties, the last century. The manufacturer utalizó small triangles and numbers, recorded as a result of the identification of reeds. The instrument has

of 34 piano keys 3 choirs in the treble and 80 bass buttons with 5 additional vocals and a record of pressure in the treble. Who knows a little more of this type of accordion?

By the way: Mona Lisa is the most famous Italian opera composer Amilcare Ponchielli, born 1834 in Paderno Fasolare / Italy and died 1886 in Milano. The opera, by basing on the drama "Angelo, Tyran de Padua (Padova)" was written by Victor Hugo. In Cremona there - even today - a monument of Ponchielli (pronounced ch = k). One of his students - among others - was Giacomo Puccini.

Even the "Mona Lisa" (Oil of Leonardo da Vinci, Louvre / Paris) is called “Gioconda”. Por que? Porque sonrie serenamente.

© ani.pas

Where To Buy Kobe Beef In Canada

The declaration of love!

There are some contemporaries, not only in Germany, who seriously maintain to say, that the accordion would no more be up to date. For us an incomprehensible point of view.

True is, that since the middle of the 70th, last century, the accordion was partly driven out of popularity through instruments like the organa, keyboard, last but not least, the guitar. These instruments are considered to be modern and to have an easier handling. Furthermore, with the electronic ones, you have the choice to generate the desired rhythms without further efforts. Despite these innovations, the old conventional accordion experienced a clear revival. How can this be explained? Perhaps that is why the tones of an accordion seem to have an more natural effect, compared with the electronical instruments?! In many new songs / hits, in the Jazz-music even in the gipsy-music, the old genuine and unmistakable sound, produced by an accordion, can be heard again.

It is also true, that in other countries like the USA, Argentina, Columbia, Finland etc. the accordion music with all it‘s different styles was furthermore cultivated without any interruption. A development of the accordion into a classic direction however could not take place in the Third Reich because the Nazis interfered and prohibited all performances of classic music for accordions. Probably the reason therefore was, that during this time existed a mania for classic “Wagner music” and the Nazis feared a „pollution“ through the sounds of the accordions.

A brutal restriction into the to date still existing liberal music scene in Germany. But the consequence of that violence was, that a long time the accordion in classic circles was frowned and considered to be an instrument only for proletarians. It‘s a shame, but this attitude towards the accordion is still prevailing in many heads of the classic purists – and not only in theirs, but also around the world. What presumption of intolerant!

A declaration of love!

There are some contemporaries, not only in Germany, claim seriously that the accordion was no longer contemporary. Incomprehensible for us view.

truth is that the accordion since the mid-seventies, partly from other instruments, such as the Organa, the keyboard has been replaced but especially through the guitar popularity. The electronic instruments that can produce either the desired electronic rhythms are considered modern and easily playable. Despite these developments experienced the traditional accordion to be recorded clearly a renaissance. How can this be explained? Is it because that act on the accordion sounds produced more natural than that posed by the electronic instruments? In many new songs / hits in jazz music, even in the gypsy music again the unique, genuine, produced from the accordion sound is heard.

It is also true that while the accordion music was in other countries like the USA, Argentina, Colombia, Finland, etc. being maintained with different styles of the accordion in the Nazi period in Germany, however, a Developing them into classical music, probably "contaminate" existing at that time because of the Wagner music craze, which no classical accordion sounds could have been denied.

a brutal interference in the music scene, which to date could still be considered liberal. The result, however, was that the accordion was considered a long time in classical circles as proletarians instrument and was therefore frowned upon. This attitude can, unfortunately, still today in many of the self-proclaimed "purists of classical music" - and not only these - are observed in the world.
intolerant What a presumption!

A declaration of love!

There are a contemporary, not only in Germany, who claim seriously, what the accordion could be nothing more than today. For us a center of interest incomprehensible.

is true that from the middle of the seventies, Sigli past, the accordion was in part driven by the popularity of instruments like the organ, keyboard and guitar. These instruments are considered to be more modern management easier too. In addition to electronic instruments can choose different rates without large deployments. Despite these innovations, accordion, old and conventional, there has been a clear revival. As you can explain? Maybe it's because the sound of an accordion seems to have a more natural effect, similar to electronic instruments? In many songs / hits new in the music of Jazz, also in the guitanos, you can hear again the old, genuine and unmistakable sound, produced by an accordion.

is also true that in other countries like the United States, Argentina, Colombia, Finland etc., Accordion music with many different styles was developed permanent ie, without interruption. Address development in a classic style could not have place in time "rule terzero" in Germany because the Nazis were seized and banned scenes classic with accordions. Perhaps the argument for this was that during this time there was a mania in the classical music composer's "Wagner" and these Nazi-offenders feared contamination by the sounds of accordions.

A brutal restrictions on the music scene in Germany at this time was liberal and intact. But this violence was the accordion in Classical circles was considered to be an instrument only the proletarian. It's a shame, but this attitude towards the accordion is still present in muchas cabezas de los puristas classicos – y no solamente en aquéllos, pero tambien en todo el mundo. Qué presunción intolerante !

©ani.pas