Pandora's Box, bandoneonpiece (1960)

Invented by Heinrich Band in Krefeld in 1850, the bandoneon soon became the miners' instrument par excellence. Today, however, it no longer plays a part in the leisure activities of the Ruhr population: it is probably too awkward to play. In contrast to the accordion, which seems predestined for popular use, the bandoneon has no pre-prepared harmony that determines the use of the instrument for playing certain pieces in certain keys for life. It is almost self-evident that the bandoneon was chosen as the most suitable instrument for the Argentine tango towards the end of the 19th century. This is because the bandoneon is ideally suited to the tango's subject matter – a sentimental jargon of half-strength romance and sour-sweet revelations.

Since I am interested in instruments that are either not considered “socially acceptable” or whose use is prejudiced by an obscure, musical-extra-musical burden (organ, harmonium, barrel organ, etc.), the composition of Pandorasbox, bandoneonpiece (1960/19..) was a welcome extension of that dimension of my work which does not disguise a certain comicality in order to promote misunderstanding. The listener's hidden prejudices cannot simply express themselves in strained humor or desperate jest, because comedy is already presented to him.

It should be noted in passing that the special design features of the bandoneon – a different sound source on the left and right, different pitches when the bellows are pressed or pulled, completely illogical disposition of the notes (buttons) in relation to their absolute pitch – virtually invited experimentation with forms of the latest instrumental practice. The spatial production of the sound, reminiscent of “quasi” stereophonic systems, was not only taken into account, but also played an essential role in the composition of the piece. New methods of fingering and bellows operation also had to be invented, which had a decisive influence not only on the notation but also on the musical language. The musical text of Pandorasbox, bandoneonpiece thus consists of two equal versions: one written in definite pitches, the other in approximate pitches. Each version represents a compositional interpretation of the same musical sequence, and the player can switch from one version to the other at the beginning of each new bar (change of bellows).

M.K.
(Translation by Edition Peters)