Dating english concertinas
After that, I intend to add a few thoughts on the later twentieth century and the situation today, all from a personal perspective! and the correspondents in Australia and South Africa might well consider that the geographical distribution of concertinas in Britain involves only very “short” distances, but (surely as a result of the long history of the concertina here) I did feel from the start that a glance into the past was the first door to open, in the search to understanding – or even explaining the British “concertina scene”.
identical to traditional English concertinas, to assure a smooth transition to a higher class concertina later on.However a completely different sphere of concertina virtuosity make its way onto discs as a component of the earlier “folk revival”.The folk music collector Cecil Sharp met William Kimber in 1899, and many recordings were made between 19 of Kimber’s morris dance repertoire (though he also played and recorded schottisches, waltzes and polkas for “social dancing”).(Instruments) a small hexagonal musical instrument of the reed organ family in which metallic reeds are vibrated by air from a set of bellows operated by the player's hands.Notes are produced by pressing buttonsaccordion, concertina - Accordion derives from Italian accordare, "to tune," and both it and the concertina operate on the same basic principle; however, the accordion has a pianolike keyboard and is rectangular and bulky, while the concertina has buttons in headboards and is hexagonal and more portable.One of the most prolific recording stars of the first half of the twentieth century, the Scot Alexander Prince (1874-1928) was a huge star of his time. Ricketts’ “Colonel Bogey March” is easily found on the internet, and opens the way to many other recordings of the era.
Playing the Maccann system duet concertina, he was recorded on discs and cylinders. A high proportion of the material recorded at the time features the Maccann; the Anglo, was often, perhaps, considered “not worth recording”.
Discs; and those who were the subject of “field recordings” by “enthusiasts” or “collectors”.
In the space and time available, I am going to pick out a limited number of players, here.
I would not think it an exaggeration to say that a good majority of current players in Britain have been influenced to some extent by the ramifications of this “folk revival”, though many have dug into surviving remnants of the abovementioned traditions, and some have made their own, distinctive way.
There are, then, very few recent players not touched by the folk phenomenon of the second half of the twentieth century.
However, none of the abovementioned pervasive influence of the folk revival means that there is a uniformity of approach, of style, or of repertoire amongst concertinists in Britain.