Then it appears that he's intentionally excluding our English concertinas and the Tedrow duets. I wonder why?
Rich, I think Dan is quite articulate and I believe that he meant what he said, not what you wish he had said.[/indent]
It would be more conclusive and accurate to say that you had meant the term "hybrid" to mean....
Since Jim asked, I'll say I had meant the term 'hybrid' to mean an anglo built by taking a handful or two of individually framed Italian reeds and affixing them to a nice (non-wooden) action to make them sound as truly (anglo- or English-) concertina-like as possible.
-- Rich --
Gee, I haven't checked in this thread for a day or two...it is growing like Johnson grass here in Texas after a summer rain!
I tried to include, not exclude, English system concertinas, Rich, not that it is any big deal (see the words 'anglo- or English
concertina-like', above. I left out the duets, ok. DIdn't really mean to, just trying to be economical in text. I didn't think everyone would be getting to this level of minutia! But then, it can be fun, I suppose.
Theo asked about the two 'big' Chemnitzer histories that I mentioned. They are
1) Thomas Leary's very nice 2005 (or so) history of Chemnitzer playing in the German communities of the midwest...it is cited in my 'Anglos in the US' article in the Concertina Library. Has a great CD with very early recordings of the big box players. I think I have mentioned it before in earlier threads.
2) Vern Rippley's wonderful 'History of the Chemnitzer Concertina', published last year by St Olaf U press...you can Google it. Bob Tedrow made me aware of it, and it is a gem. I have been trading emails with the author, and plan to discuss further with him what he and others in the midwest know about early producion of concertinas in Germany (there seems to be an appreciable amount of knowledge on that topic with them), with an eye to firming up my (and perhaps our) understanding of the German producers who got the worldwide concertina craze going in the mid19th century.