Thanks Stephen, looking forward to your Michaelstein paper ..!
It answers many of the points in your latest posting too. If you want to get a copy of the entire (very interesting) publication, most of which is in German, it can be ordered online from Stiftung Kloster Michaelstein
It is Konferenzberichte 62 (Conference Proceedings 62) in their series of publications, the title being "Harmonium und Handharmonika", price Euro 29.80 + postage (click on the hyperlink, go to the bottom of the webpage, & click on *Forsetzung unter "Michaelsteiner Konferenzberichte"*, bottom of next page click on *Heft 61-62*, next page go to "Heft 62" and click on *Diesen Titel online bestellen*). However, there is an error (a different publication) coming up at the moment when you try to order it online, so I will email them to see if they can correct that.**** I looked at their website today (24/01/04), and I see that this has now been corrected, so no excuses for not buying a copy !
but wasn't 'concertina' used at Regondi's continent tour 1846 also? ( I haven't checked articles...) Well...he didn't go to Chemnitz...did he? But the rumour may have....
You are right in saying that the English instrument was described as a concertina in reports of Regondi's 1846/7 tour, however the name does not seem to have come into common usage and melophon/melofon (used at the time of his 1840/1 tour) continued to be used for it, in both Germany & Austria-Hungary, into the 20th century. (And it was manufactured as such, in those countries, though in relatively small quantities.)
I think that Carl Friederich Zimmermann is a very signficant figure in all this, he had worked in Chemnitz, he probably invented the Carlsfelder concertina (it has even been suggested that he may have been the true inventor of the Bandonion), he started the concertina industry in Carlsfeld (in 1847) and founded the factory that was taken over (in 1864) by his foreman Ernst Luis Arnold, father of the legendary Bandonion maker Alfred Arnold. He really was at the heart of the concertina industry in Germany, yet he came to the Great Exhibition in 1851 still calling his concertinas "accordions" & "harmonicas", even though the name "German concertina" had already been in use, in England, since at least 1846. It was only on his return home that he started to use the name concertina !
Concerning Uhlig...You say "advertised"....have you seen it? Local newspaper or where? I have tried getting information from a local museum (Chemnitz) with no result...I believed there might have been some kind of patent paper too but the administrative changes since 1834 have been a few not making things easier....
Yes, I have seen it. It appeared in the "Chemnitzer Anzeiger Nr. 57" of 19th July 1834, page 359. I have a photocopy of both it, and various other advertisements for Uhlig, both before and after that date. There is no patent.
A confusing notice (concerning Uhlig's first instrument) from Walter Maurer:"Accordion" : "Es hatte nicht die Form des Demianschen Accordions,sondern war sechseckig."
...sixsided...you know anything about this? I've tried to contact Maurer once without response...
I believe this is erroneous. Early German concertinas were rectangular in shape, but there is an advertisement for the maker C.F. Reichel, in the "Chemnitz Adressbuch" for 1855, that shows rectangular, hexagonal, octagonal and even circular models were available by that date.
Stephen:"I am sure that the origin of the name "Concert - ina" (in late 1833 ?) lies with the same man who named his previous instrument "Symphoni - um" (in 1829)."
There seems to me to be a corollary here, in naming one instrument to suggest symphony/symphonious/symphonic, and its successor suggesting concerto/concert/concerted/concertino. I see the same mind at work.
Goran:Hm..I am a bit wondering...
I find the formulations in the patent papers respectively somewhat confusing:
1829: "I have given the name of symphonium"
1844: "has since been named the concertina, and is generally known by that designation"
I don't. After all, we know that Wheatsone's instrument had been described as a "Symphonium with bellows", and also as a Melophon/Melofon, not only as a Concertina. Perhaps you would be happier if he had added the words "by myself" after "has since been named the concertina", but unfortunately he didn't.
The name concertina is not claimed in the patent the way *Symphonium* is claimed for the specific keyboard layout.
Of course it wasn't, it wasn't invented for another four and a half years !
Maria Dunkel mentions the Debain harmonium called "Concertina" 1839.
Which is five/six years after we know that the name was already in use for Wheatstone's instrument. A lot of names got reused for other instruments, causing great confusion, as we have seen.
The formulation "Wheatstones patent concertina" in the earlier mentioned advertisement for Regondi in Dublin in my view goes along with a possible 'general' meaning of 'concertina' compared with an alternative formulation like 'The Concertina - patented by Wheatstone' or similar....
I'm sorry, but I would interpret those two formulations completely oppositely to yourself.
Edited by Stephen Chambers, 09 December 2008 - 10:22 AM.