Posted 02 October 2003 - 11:30 PM
New one on me. Anyone shed any light?
Posted 03 October 2003 - 12:32 AM
Here's one expression of a similar idea, from an early tutor, 1854:
Sedgwick's Complete System
of Instructions for the Concertina.
Ent. Sta. Hall --- Price 7/6
Levesque, Edmeades & Co. 40, Cheapside,
where may be obtained all Works by the Author.
British Museum Stamp: "4 JY 54" [04 JULY 1854]
p 1: "There is no instrument as yet invented that presents so many
advantages to the Amateur, as the Concertina! [sic] From its immense
power, flexibility and clearness of intonation (a desideratum not to
be acquired on any other wind instrument, save with the greatest
possible degree of labour) and the facility with which the most
complicated harmonies may be produced, it is one of those, destined to
continue alike popular in the Concert or Drawing room; ... ."
"To Ladies it is particularly recommendable from its extreme
elegance and portability, as also on account of its being the
only wind instrument at their command."
Posted 03 October 2003 - 07:17 AM
first, i am talking about the "English" concertina only. . . . . . .second, since i must run (my life is tied to the schedule of the Long Island Railroad), i can't go on at length here. . . . but i will add get back to it as soon as i possibly can. . . . perhaps over the weekend, though this weekend is particularly tight..............
in short: the instrument was not intended specifically (in the sense of only) for women, but wheatstone & co. sure pitched it towards them..............allan
Posted 03 October 2003 - 10:30 AM
I found Robert's quote very interesting, with its implication that "wind instruments" (except the concertina) were beyond the pale for women at that time, in that social and musical context. I have seen many references over the years to the "taboo" against women playing the flute in particular, which seems to have extended over centuries in europe, in both "art" music and popular/traditional music. In the late 19th century Rockstro advocates for the (new) women flautists in the tone of someone fighting a deeply-seated prejudice (see also H. M. Fitzgibbon, "The Story of the Flute," etc. for more comments on how recently the flute has been popularized among women). This would be a great topic for someone's Ph. D. thesis or other academic research, and I look forward to Allan's results (Allan, maybe the flute situation would form a good counterpoint to that of the Wheatstone english concertina).
In SOME traditional music environments the anglo (or more likely, German) concertina also had a "gender." From an interview with Jack Doyle broadcast over Irish radio in the 1980s: [In his part of county Kerry, in the early 20th century], "a man couldn't play the concertina and a woman couldn't play the flute." In the context it's clear he's referring to social acceptance rather than biologically determined physical constraints. When learning Irish music on the concertina in the 80s I often received similar advice from Kerry natives of the older generation! Obviously elsewhere in Ireland the traditional association of the German or anglo concertina with woman players was less strictly enforced, and I have heard of excellent male Kerry concertinists from the same generation as Jack Doyle. But it's interesting that he made the point.
I'm sure many readers of this forum in Ireland, England, continental Europe and elsewhere can cite examples of "gender specificity" for the concertina in local traditions. Help please?
Edited by Paul Groff, 03 October 2003 - 11:26 AM.
Posted 03 October 2003 - 01:22 PM
I also doubt that it was developed specifically for the purpose of providing a wind instrument for women, but that this opportunity was recognized afterward. I no direct evidence, though, and I look forward to what Allan's research uncovers.
As for gender roles in music, until recently (about 30 years ago?) there was fairly strict segregation in Bulgaria and Macedonia, where men would play instruments for dancing, but women would dance to their own singing. For a woman to play any instrument was considered scandalous.
Posted 03 October 2003 - 06:42 PM
obviously, men were not excluded. . . . and they did make up the majority of those who purchased instruments (though how many men purchased them for their wives or daughters we can't say). . . . . .
keep the following in mind: the royal academy of music, founded in 1822, admitted women from the outset. . . . .they were, however, limited to studies in three areas and three areas only: voice, piano, and harp...............
i will try to formulate a more extended response on sunday or monday. . . .won't get around to it until then..........
Posted 03 October 2003 - 10:49 PM
I have always been puzzled by the (for most males) too small dimensions of the english concertina keyboard and wondered if this could be related to
1) CWs own hands 2) his daughters hands 3) Regondis hands
since 'feedback' from players ought to have stimulated a modification of particularly the transverse spacing of the button rows. On the other hand the general impression is that the intention was making the instrument as compact as possible in all respects.
Posted 04 October 2003 - 12:51 AM
late 1880s, now contrasted to the banjo which was apparently the ladies'
instrument of the hour:
"For Ladies the Concertina is specially adapted, being so compact and
convenient to carry, much more so than the Banjo, which seems to be
the latest idea. Ladies studying the Piano would find it an easy matter to play
on the Duet Concertina, it being always very useful, especially where there is
not a Piano, and music is desired. For persons who have to travel, nothing can
be better, being easily packed away. Instruments are specially made for
Australia, India, Canada, &c., suitable to the climate."
John Hill Maccann, The Concertinist's Guide, London: Lachenal, 1888,
page 9, s.v. "Concluding Remarks".
On the web at Maccann, Concertinist's Guide.
Posted 07 October 2003 - 06:03 PM
16 September 1843, Wheatstone No. 701; and
20 March 1848, Wheatstone No. 1453. . . .
would THIS Lady Bulteel therefore be Lady EC B's aunt??. . . . .
Edited by allan atlas, 07 October 2003 - 06:27 PM.
Posted 07 October 2003 - 06:17 PM
please correct me if i'm wrong............allan
Posted 07 October 2003 - 06:26 PM
(1) Lady Elizabeth Bulteel was the daughter of the 2nd Earl Grey and Mary Elizabeth Ponsonby. . . .she was the sister of the 3rd Earl Grey (which one is the Earl Grey of tea fame???). . . . .her date of birth is not known. . . . .she died in 1880. . . .she married one John Crocker Bulteel, who died in 1843
(2) Lady Louisa Emily Charlotte Bulteel was the daughter of Elizabeth Bulteel and John Crocker Bulteel. . . . .
so the two Bulteel women who played concertina were mother and daughter..............allan
Posted 08 October 2003 - 11:59 AM
Posted 08 October 2003 - 05:52 PM
Posted 09 October 2003 - 02:51 AM
FOLKS: in his note about the concertina that he bought, Johannes Bosch refers to a book about the Bulteel family. . . .. .does anyone know what JB might have had in mind. . . .
In the Johannes Bosch note archived on Concertina.net, he mentions an actual reference to Louisa Emily Bulteel playing the concertina. His note is dated 2001.
A book which should be useful is "Henry & Mary Ponsonby: Life at the Court of Queen Victoria" by William M. Kuhn (London: Duckworth, 2002). If I understand the family tree, Mary Ponsonby was was born Mary Bulteel, the sister of the concertinist Lousia Emily Bulteel (usually called Emily), both the daughters of Elizabeth Bulteel (Lady Elizabeth Grey).
This can't possibly be Bosch's source (it was published after his note), and I cannot find in it the mention of the concertina that Bosch quotes. But it contains a thorough bibliography of sources, and so most likely contains Bosch's source.
Posted 09 October 2003 - 06:45 AM
For information, the following is quoted from correspondence received from Vivien Allen, genealogist and author of the 2nd edition:
Quote - "Preparations for publication of Vivien Allen's The Bulteels, The
Story of a Huguenot Family by Phillimore & Co. Ltd are moving ahead and
it can now be ordered with a generous pre-publication discount.
Those of you receiving it by e-mail, click on the link below, which
should come up in blue on your screen, to connect to Phillimore's web site.
If it does not, then key the address into your browser. Select The Bulteels and click on Details.
The picture on the web site is of Mary Bulteel, daughter of James of Barnstaple, at
the time of her marriage to Sir Richard Vyvyan in 1637. I have to thank
their descendant Sir Ferrers Vyvyan, for copying it for us and giving
permission to reproduce it. On the dust jacket of the book it appears
with a water colour of Flete in 1790. All the information you need about
the book and the discount offered is on the web site with an order form.
It is a secure site and you can order by credit card wherever you are in
the world. Your name will be printed in the book as a subscriber if you
put it onto the form. If you would rather not, leave the space blank.
Publication is due early next year but we need a good number of
subscriptions to justify going ahead. And anyway, why pay more than you
have to!" - unquote.
Posted 09 October 2003 - 05:35 PM
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