Mike Pierceall

I'm getting my new Edophone on Sunday. Andrew Norman restored it earlier this year, and yes, the results of the rolling Edeophone syndrome have been skillfully repaired. How on earth can a clumsy b****r like me prevent this happening in the future? I guess for the first few months I'll be treating it with kid gloves and putting it back in the case every time I've finished playing, but only this week I snapped the flowering stalk of my wife's orchid, and also broke the glass on a picture I was taking to auction. You might want to put a leash on it , lest it wander off

The thumbstraps do appear to be mounted forward one row, but that could be camera angle. What are your observations? Mike

I had read that the Wheatstone company suspended concertina manufacture during WWII -- that they switched to war work. Does anyone know what kind of product they manufactured? Bugles?

My experience is that if you order from Dave Leese, you'll get it within the week in North America. That's been my experience as well. Mike

But unfortunately Emily Frances Townely married Lord Alexander Francis Charles Gordon-Lennox in 1863, so it can't be her . Next candidate? Wes, thanks for that added information on Lady Lennox, nee Towneley -- her year of marriage. Oh, well, back to the books. Regards, Mike.

Hi Allen, I've just replied to Peter about info I found on Lady Augusta Caroline Gordon- Lennox, and since then I have read your posting. Of course, your right, her name would have changed subsequent to her marriage which was before the instrument was sold to her. That hadn't occurred to me, I guess I'll never make Sherlock Holmes. Oh well back to the drawing board. Shame it wasn't her though because she shared my birthday. I like the sound of Lady William Lennox, with her orchestra. I too would love to be able to identify this mysterious Lady A Lennox. Will keep ya posted. Jinny Jinny, From the 1871 England Census: Lady A Lennox and Lord A Lennox, living with her father, Charles Towneley - landowner and magistrate) Year of her birth: 1841. Place of birth: Westminster Middlesex England. That would have made her about 15 years of age in 1856. I don't know enough about the customs of that place and time to know if women were married at that age. I thought I'd post this nevertheless. More info than I've listed here, but it's time to practice. Cheers -- Mike

Welcome, Jinny, You're never too old to learn new things. It's what keeps us young Does your instrument have a serial number? That will tell us more about it's age. It might even be in the Wheatstone production ledgers, which can be searched online. Many people are self taught, myself included, and there are a number of instructional publications available. You first need to determine what kind of concertina your have. Anglo and English are the two main types. Can you describe it's appearance for us? How many buttons, etc? Mike hello Mike, thanks for the speedy reply. Here's my attempt to describe its appearence. On one side of the instrument it says 'her majesty's letters patent, C.wheatstone,(unable to read the next line), london' and on the other side there is a number '8178'. I'm not sure if this is a serial number? Its shape is hexagon. Its in a wooden box surrounded by leather. It has brass enbossed flowers on its side, with a cut out wooden pattern and brass rests for your thumbs (surrounded by leather). It has four lines of six buttons on one side and four lines of bottons on the other side; six on one line, seven on the next, six on the next and 5 on the next. Its bellows are racing car green with white patterned inlays. Hope this info is of help. Again many thanks and I look forward to your reply. Jane. Jinny, according to the ledgers, your concertina was made for Lady Lennox on February 25, 1856. It's a grand old lady, indeed. Perhaps you can teach her some new tricks. It's an English as opposed to an Anglo, probably a treble. If you could provide a picture for us, I'm sure we'd enjoy a look. Mike

Welcome, Jinny, You're never too old to learn new things. It's what keeps us young Does your instrument have a serial number? That will tell us more about it's age. It might even be in the Wheatstone production ledgers, which can be searched online. Many people are self taught, myself included, and there are a number of instructional publications available. You first need to determine what kind of concertina your have. Anglo and English are the two main types. Can you describe it's appearance for us? How many buttons, etc? Mike

Interestingly enough, the action on my Edeophone from the 20s, with hook-and-eye levers, is quieter and more responsive than than my '41 Wheatstone with riveted action. But I'm comparing an Edeophone with a Wheatstone E-1 and there are other considerations such as bushed vs. non-bushed buttons and metal vs. plastic keys. Mike

I've read comments to the effect that Wheatstone concertinas made after WWII were of lesser quality than those made before the war. In what way? Would anyone care to offer an opinion? The Aeolas made after the war are of particular interest. Thanks -- Mike

Dave, Wim Wakker supplies both parts you are looking for on his website, Concertina Connection. Very reasonably priced too. Mike

Robin, That would be my philosophy too. I've had plenty of problems with one batch of pads he made using double-sided tape, and they slide apart over time. The trouble is that I used them in my own Edeophone, and in plenty of repairs that I did too, and they keep coming back to haunt me! I've always suspected that double-sided tape had a split personality Mike

Bruce, thanks for the lead. That's the one! Pauline de Snoo also plays an excerpt in a short video on her website.

I must have been in a minor mood when I posted. You're right. I should have said major. I've wanted to play it since hearing it on the "Playing the Concertina" documentary. It took a while to connect a title to it. I don't think it's listed in the end credits. Thank you for your help. Mike Edited to state that the documentary "Playing the Concertina" does list "Serenade" by Regondi in the end credits and sleeve. An oversight on my part. Sorry, folks.

Could any of you kind people direct me to a source for the sheet music to Regondi's "Serenade for Concertina and Piano in A minor"? Mike

I guess there's no hope for me then, being of a hairy disposition. Maybe I should get my head shaved? I just listened to a recording (sans concertina) of Cawthorn singing "I Can Dance With Everyone But My Wife" 1916, for which he wrote the lyrics. He was a tenor. No success finding a recording with his concertina, though, yet. Mike

Dan, I just returned home from the central library to read your note, and you are right. Joseph Bridger Cawthorn is the man. I apologize for the early error in spelling. My digital output is difficult to read. He was born in New York in 1868 and began acting on stage at the age of four. His parents were both from England, where he then began performing in the musical halls there at the age of nine. He then returned to the U.S. where he performed on stage in variety shows and, later, motion pictures. According to the 1910 census, he was living on Bangs Avenue in New Jersy. His wife, Queenie, was born in Scotland and was an actor as well. Now, if I can only dig up a picture of him with the concertina... Thanks for all your help -- Mike

And it looks like those two in Ontario might be descendants of Joseph Cawthra (1759 – 1842) the Canadian merchant and politician: http://en.wikipedia.org/wiki/Joseph_Cawthra Thanks, Stephen. I'm also looking to find living descendants. Cawthra, also spelled Cawthora, (either one might be correct) must have left a paper trail, though; and if he does have living descendants, they may be totally unaware of his involvement with the concertina. Mike

Michael, You might check with Randy Merris, who is preparing a manuscript on many of the earlier music hall and other players in the US (mostly English and Duet, but also anglo). I've been messing about with the history of anglo use in the US over the same period, and am preparing a little paper for PICA. I've heard the name Cawthra but have no information; usually the players at classical venues played English system however. There was an amazing amount of social stratification back then, and what we now term 'traditional' music was considered peasant stuff and not widely accepted in Grand Operahouses (yet); I'd guess based on that that Cawthra was playing English or duet. But then you must already know that. Good luck...and please let me know if I guessed wrong! I'm not so sure we can make the assumption that Cawthra was playing an English or duet, Dan. Also on the bill for that evening's performance was a Miss Rosa, whose "banjo playing and dancing brought down the house." I'll have to research the Grand Operahouse itself to learn of its history and, ultimately, it's demise. Thanks. Mike Mike, I said I was guessing, not assuming! My guess is based on the fact that most of the 'Opera Houses' of that time were for mid-to-high brow popular entertainment...light classics, sentimental ballads, that sort of thing. They would have done some operas too of course, but the sort of evening with concertina and banjo and other musicians that you describe was a typical variety show. Most of the references to concertina players I have seen at these events in late nineteenth century US, where it is clear what type of instrument is being played, were English or duet system players, like the one I've attached for Adam Sedgwick (they even name the tunes he was recalled for in encore). A banjo would not have been out of place here, if played in a reasonably 'refined' way. Perhaps the opera houses in LA were more rowdy, though....a clue would be if you see minstrels playing there. References to concertina music played outside these polite venues and other such 'soirees' found documented in the Brooklyn Eagle for this period are unfailingly negative or condescending; note the snide comment on concertinas in the other piece I attach! If you search this Forum you can see some pieces I posted on concertinas at Salvation army events, typically thought ghastly, low brow and completely unmusical at the time by correspondents in the Eagle. There were also a few concertinas played in the minstrels, decidedly lower-brow and rowdy affairs on the whole (think early rock 'n roll). My best US 'anglo' sightings in the nineteenth century were at these two sorts of affairs, as well as on ships in the hands of sailors, and among Irish and other immigrants. Not that EC and duet couldn't also be found in all those places. I'm always on the anglo lookout, however...let me know if you find some other clues! As for Cawthra, let's hope you find some facts for him. I'm pretty sure I've heard Randy Merris speak of him. Cheers, Dan Dan, I've done a little more research into the Grand Operahouse. Two years after Cawthra played there, it became part of the Orpheum vaudeville circuit. Photos available online at the lapl website show it to be in various stages of distress until it was demolished, I believe, in 1936. Anyway, this is all very preliminary, and I need to educate myself on the dynamics of that period of time. You've been most helpful, and I thank you. Mike

Michael, You might check with Randy Merris, who is preparing a manuscript on many of the earlier music hall and other players in the US (mostly English and Duet, but also anglo). I've been messing about with the history of anglo use in the US over the same period, and am preparing a little paper for PICA. I've heard the name Cawthra but have no information; usually the players at classical venues played English system however. There was an amazing amount of social stratification back then, and what we now term 'traditional' music was considered peasant stuff and not widely accepted in Grand Operahouses (yet); I'd guess based on that that Cawthra was playing English or duet. But then you must already know that. Good luck...and please let me know if I guessed wrong! I'm not so sure we can make the assumption that Cawthra was playing an English or duet, Dan. Also on the bill for that evening's performance was a Miss Rosa, whose "banjo playing and dancing brought down the house." I'll have to research the Grand Operahouse itself to learn of its history and, ultimately, it's demise. Thanks. Mike

I have some reason to believe that he was a British subject, but that's still to be determined. Mike, Cawthra is a very unusual surname and, judging by the distribution of it on the census for England, it seems to originate in Yorkshire. However, a quick look at the index to the US census shows two individuals of that name: 1850 Name: Joseph Cawthra Birth: abt 1832 - location Residence: 1850 - city, Monroe, New York 1860 Name: Joseph Cawthra Birth: abt 1832 - location Residence: 1860 - city, Monroe, New York 1910 Name: Joseph Cawthra Spouse: Annie Birth: abt 1868 - location Arrival: year Residence: 1910 - city, York, Maine 1920 Name: Joseph Cawthra Spouse: Annie Birth: abt 1869 - location Arrival: year Residence: 1920 - city, York, Maine Likewise the Canadian one: 1871 Name: Joseph Cawthra Birth: 1822-1823 - location Birth: 1823 Residence: 1871 - location, Ontario, Canada Residence: location 1901 Name: Joseph Cawthra Birth: 1860 - location Residence: 1901 - city, Muskoka And Parry Sound, Ontario 1911 Name: Joseph Cawthra Birth: mm 1860 - location Residence: 1911 - Ontario But my subscription is only to the UK records collection, so I can't access the images of these to see if they throw any light on the matter. Thanks, Stephen. I'll follow through on these leads. You are very helpful. I appreciate it.

Michael, You might check with Randy Merris, who is preparing a manuscript on many of the earlier music hall and other players in the US (mostly English and Duet, but also anglo). I've been messing about with the history of anglo use in the US over the same period, and am preparing a little paper for PICA. I've heard the name Cawthra but have no information; usually the players at classical venues played English system however. There was an amazing amount of social stratification back then, and what we now term 'traditional' music was considered peasant stuff and not widely accepted in Grand Operahouses (yet); I'd guess based on that that Cawthra was playing English or duet. But then you must already know that. Good luck...and please let me know if I guessed wrong! Dan, thanks for the suggestion. The article from the Los Angeles Times, dated December 18, 1892, indicates that Joe Cawthra received several encores. It was also implied that he had performed at that venue in the past. I have some reason to believe that he was a British subject, but that's still to be determined. I'll certainly keep you in tune with what I turn up. Mike

I am doing some research into the concertina in the U.S. and was wondering if anyone is familiar with a Joseph Cawthra, who performed at the Los Angeles Grand Operahouse, on concertina, in the 1890s. Any leads would be appreciated. Thanks. Mike

Looks like it'd be a cool instrument to play in more ways than one. Mike

Thank you, Stephen. Illuminating as usual.