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Stephen Chambers

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Everything posted by Stephen Chambers

  1. Only the one in the video is an octave-tuned tango Bandonion with a large 142-note (71-key) range, whilst the one on eBay is a Carlsfelder with a more-limited one of 102-notes (51-keys) . Here's another Carlsfelder/Karlsfelder concertina in action:
  2. It seems J. Booth, 11, Churchgate, Bolton, put his name on cheap German concertinas too: https://www.worthpoint.com/worthopedia/anglo-concertina-made-booth-488011224 Whilst Booth's Music ("specialists in music since 1832") are still trading, at 17, Churchgate.
  3. Well, if they're not stamped C. Jeffries, Maker, I'd describe them as "John Crabb" - but he probably made them all anyway...
  4. Not me anyway, and I've worked on quite a few of them - they're the same quality as any other Lachenal.
  5. I think you're right, it both sounds and FEELS like English-concertina playing, whilst the Russian word гармонистъ, that's used to describe Nevsky, translates as garmonist (though it can mis-translate as "harmonist"!) = harmonica player, and in German, as well as Nordic and Eastern European languages, the word "harmonica" has a broader meaning than it does in English, so it can signify concertina as well as accordion. Also, the article that John Moncton provided a link to, http://www.nkj.ru/archive/articles/528/, states that "The event that completely changed his life was a meeting with the circus troupe of the Yurovs - eccentric musicians with world fame. The well-known concertinist (concertina is a type of harmonica) Dmitry Yurov, who played excellently on the Tula seven-valve, became Nevsky's teacher. It was he who created a bright artist out of a talented self-taught accordion player, who perfectly masters not only the instrument, but also the auditorium." So I guess we know who taught him!
  6. Let me start by saying that, regardless of the label, the instrument was made by Louis Lachenal. But that doesn't really matter much because he was making for Wheatstone's in 1857, when Wheatstone #7659 was sold. However, the end label in this instrument has been changed (probably when the original brass reeds were changed to steel ones) to a "C. Wheatstone, 23, West St., Charing Cross Rd." one, and the "maker's" name and address have been cut off the reedpan labels. Also, I've only seen that action box construction, with undivided sides that are not glued to the pallet board (like a German concertina), on early examples of this model from Louis Lachenal's own production. So, my conclusion is that this is Louis Lachenal #7659, made c.1861, and it was re-reeded (with steel tongues) by Wheatstone's sometime between 1905 and 1946.
  7. I don't think it's Bakelite, but rather celluloid, which was originally available only in white, ivory, or tortoiseshell finishes. They started to put it on accordions, moulding it to shape around the woodwork after immersing it in acetone, not long after WW1 (and I have an accordion by, celluloid pioneers, Guerrini Brothers in San Francisco that's stamped "MAY 25 1921" on the reed-blocks), whilst the first recorded "Tortoiseshell" Aeola was #30150 on "Apl 29" 1924 according to the ledgers. They certainly weren't always consistent in the ledger descriptions of instruments, but I wouldn't attach great significance to it - they also used "Gilt Fittings" interchangeably with "Gold Fittings" too, but I don't suppose anybody would suggest that the screws, buttons, and other fittings, were solid gold on the latter... 😲
  8. Listings tend to describe ALL large square concertinas as Bandonions/Bandoneons, but they usually aren't, and this one isn't. Neither is it a Chemnitzer, but it may well be a Carlsfelder...
  9. Only, I've already posted a photo of my "Australian" Kalbe, which has 2-row German-concertina keyboards, projecting at 90%, on both ends... But so does the Colin Dipper "Franglo" 😉 Most confused/confusing...
  10. Here's one with an identity crisis, is it a concertina, or a melodeon, or a "Franglo"?
  11. It's a bellows-powered, free-reed instrument David, but not a concertina. Melophones were held more-like a guitar in order to be played: And I've got one of them too!
  12. Then there's the reversible, house -shaped, F/C & G/D double keyboard, "push-me-pull-you"
  13. I raise you my "Australian" Kalbe, that I got from Tasmania (if I remember rightly) - seen here on display at the OaC in Miltown Malbay, because that's the only photo that I have of it:
  14. The German concertina started off with only one row of keys (like the early accordions that, the inventor, Carl Friedrich Uhlig was seeking to improve upon) and I have half-a-dozen, or more, of those (from the 1840s, '50s. '60s) in my research collection - like this one that was made in Klingenthal in the 1850s:
  15. No, because brass reed-plates were standard and not something unusual, whilst "brass bound" was the normal term for furniture, boxes, etc. that were reinforced with brass. Edited link
  16. I'm trying to put together a reply to your personal messages to me Padraic, but it's a difficult subject and I'm not in great health for it. However, the simplistic answer is that there are no known "key players" of Irish traditional music on the concertina in the 19th century, since the concertina (and also the melodeon, mouth organ and tin whistle) were not deemed fit, or serious, instruments by the few people who collected/wrote about traditional music in those years. In the words of my friend Dan Worrall, who has researched/written about the use of the German/Anglo concertina in various cultures, and who gave a lecture titled ‘Pride of Place: The Origins of Anglo-German Concertina Playing in Clare and Beyond’ at the Concertina Cruinniú in Miltown Malbay: Dan has also written 'Notes on the Beginnings of Concertina Playing in Ireland, 1834–1930'
  17. I too have always found that dubious since, like I said, most Irish button accordion players had yet to work out how to play their instruments (in various key systems) in "concert pitch" D, G and A. But, for that matter, were "concert pitch" G chanters for Northumbrian pipes being made, let alone in general use, then? My past experiences have always been with sets that were pitched between F and F#...
  18. No, you could never buy them in DIY shops. They have always been made specially for concertinas. I see there is another type, which might be suitable (depending on the diameters of the thread and the knurled top - what sizes are they?), on that website: https://www.yodobashi.com/product/100000001001931661/ I have found I can get suitable ones, in brass or stainless steel, by post from a UK supplier, but they have a metric M3 thread and can only be bought in packs of 50.
  19. You'll find a lot about the subject in this post from 2004: https://www.concertina.net/forums/index.php?/topic/1807-piano-accordions/&do=findComment&comment=17264
  20. Oh, but there was Daniel, a century earlier in fact - in that Bastari officially started out in 1952 (rather than 1949, which Dr. Marcello Bastari said in that interview). Before accordion manufacturing started in Italy pioneers of the business, such as Giacomo Alunni from Nocera Umbra in 1850, Giovanni Cingolani from Recanati in 1856, and Lorenzo Ploner from Trieste in 1862, started making concertinas.
  21. Steve Dickinson would have used brass because it's the best material for concertina springs. I find there's too much resistance in steel or phosphor-bronze.
  22. Yes, that's what I thought it would be like. Similarly tropicalised "campaign furniture" was made too, generally collapsible, or stacking, typically for army officers, missionaries and colonials.
  23. That's a Rock Chidley (1825-94) baritone English-system concertina, made by the grand-uncle of Kenneth Vernon Chidley (1892-1964) who devised the Chidley-system duet that's the subject of this thread.
  24. Yes, they appear to have used aluminium for the long levers that needed to be bent to get around buttons that were in their path.
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