arti

'Ottone' - Thanks for the update - I had wondered for ages but not enough to find the truth.

Marc Serafini has a diatonic 'modele ottone ( = brass ) on YT. He used to offer brass reeds ( anches ottone ) as an extra so I guess they were seen as better? Maybe you could ask him.

Its worth depends partly on where you are and is probably more than you think. 1948-50 is not the most valued period but maybe not the least. In UK, Barleycorn Concertinas site may give you an idea - a search will turn up other dealers/repairers. Hobgoblin is a loose chain of shops in UK that does concertinas. IN USA there is Concertina Connection among others. It is an Anglo instrument and 30 key is probably the most popular - especially in Ireland. Good luck!

I've resisted temptation until now but: Quote: 'The asking price on ebay is just speculative and I'm sure it wont sell for that.'

I agree with all the encouraging views re playing both. Caution on the PA: I have never heard of a former PA player who regretted the switch to a CBA. Any prior learning advantage from piano would not last not least because the PA and piano are so different. Compact layout and regularity of fingering of a CBA is likely to be much more positive over time. If buying new a Weltmeister is generally considered a better buy than a Hohner. If buying old then the opposite is more likely. If not cash sensitive, why not get another Saltarelle: (11) "Empreinte" - Florence Glorion - YouTube

My son told me some time ago that John was no longer with us. He also did tuning work - at the time the 'workshop' (together with Sue) was their kitchen table. I'm sure John would also want to be remembered for his music- making and his work archiving early film in the SW thro' Trilith. eg (2) Working the Woods - YouTube

Perhaps a compromise would be an 'I did that' section on the ICA site. I rejoined a while ago after a 40 year absence. I attended once (AGM?) - travelling up from W Dorset with a brilliant Anglo player - and don't recall it being competitive. Could be my memory. It was a (then) rare chance to hear concertinas. I believe performances were commented on and helpful suggestions made. I still have fond memories of the day's music. PDF is a great idea in my opinion.

For those who like obscure factoids, in Somerset (England) these creatures are called 'Hunky Punks.'

The Accordionists Forum: www.accordionistsinfo

Thank you - I enjoyed that. Can I add that in a shanty the verse is there to give the singers time off between choruses but in a (whaling) song the chorus allows the audience to be part of the story as it unfolds. If anything I believe the chorus helps the audience concentrate on the story. Also with a short instrumental ending - about a line - the rapturous applause is immediate.

Upside: Modern, compact, competitively priced, around three octaves either side and make your own chords: https://www.musik-center.de/en/zerosette-pinocchio-leader-b10c-freebass-uberholt-gebraucht.html/ Downside: It isn't a concertina!

Thanks for the straight answer.

Getting on for 50 years ago, when I picked up my Anglo from Crabb's, he recommended Neatsfoot Oil annually. Have ideas moved on since? I'd be grateful for any feedback as I'm not long back with concertinas and bought a pint of the oil just to be prepared. Thanks

And to think I knew both those things!

I got to know Eric in the early 70s when he lived in Worth Matravers (Purbeck) He later moved to Swanage as he felt Worth to be rather isolated when he was older (Spring 1973?) That was the last time I saw him. About a year earlier we both attended the ICA meeting. I was a beginner and he was the most accomplished player I ever heard. As quoted elsewhere - more like a Duet player. He favoured what I guess you`d call light Classical and had a very harmonic style. He said he owed his skills to all night practice sessions when he was a volunteer Coastguard at 'Winspit.' At times he would swing his concertina but in a very measured/restrainedl way that enhanced his music. He liked nothing better than to fill the village hall with sound. I clutched my brand new Crabb and looked on in awe. For many years I kept a recording but lost it in a house move. Perhaps wrongly, I thought the ICA would have kept theirs as his playing was so well thought of. He definitely counts as a true English Anglo player - no links to Folk Revival as far as I know - repertoire from the early part of the 20th Century and a style that was unique. Glenda- if your father farmed on Purbeck I also met him on one occasion. I often wondered if he kept Eric's Wheatstone. PS: Odd that Tommy Williams doesn't get a mention - perhaps I missed him on the list