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Newsletter 333, January 1986

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Newsletter 333, January 1986 Membership Secretary Events Secretary Martin Williams Marian Janes 3 Frinton House 15 Crescent Road Rushcroft Road London N3 3AL London SW2 01 348 5563 01 737 7987 President Rev Kenneth Loveless VRD FSA FSA Scot Hon RNR Treasurer Editor John Entract Colin Turner 16 Mandeville Rd 309 Uggmere Court Rd Saffron Walden Ramsey Heights Essex Huntingdon Cambs PE17 1RJ No 333 January 1966 In the last Newsletter I gave TWO different dates for the next Bloomsbury meeting - AND BOTH OF THEM WERE WRONG! The next meeting, which is also the Annual General Meeting will be held on SATURDAY 15th FEBRUARY at the Bloomsbury Community Association Hall. The Agenda and further details are included with this Newsletter – Ed BUTTONHOLES The first in a series of snippets culled from concertina players on the folk scene by Maggy St .George. UNSEASONAL NOSTALGIA By the time this is in circulation it would be topical to look ahead, the gleam of New Year Resolution radiating from the concertina buttons. Yes, I will master Sidney Smith's March in '86, and that gorgeous tune I think I pinched from Gerald Trimble, but can't remember the title. However, at the time of writing I make no apology for a nostalgia trip - especially for what was my Concertina Weekend of the summer of '85, Towersey Festival. It's one of the classic festivals that never disappoints; and last August was its 21st birthday, occasioning a line-up crowded with nostalgia as well as the new and exciting things that are happening on the folk circuit. Alan and I, complete with our Jack Russell, Hobo, (whose response to the concertina deserves a Buttonhole to itself - later perhaps) took the weekend off. For the squeeze-box it was a brilliant event; the Mexborough Quartet not only increased their following but also ran some of the best attended workshops I've ever been to. Apart from some lively ensemble playing, there was a dismembering session by Steve Dickinson, and of course Dick Miles obliged in his solo role as well as being part of the Quartet. Proving that the ICA addict is a gregarious and thriving species, there were splendidly appreciative audiences for Ralph Jordan and Jo Fraser; as a duo they're one of the best things that happened last year and, as a McCann Duet player, Ralph's mastery and sheer musicality makes him one of the nicest guys I love to hate! I know I shall be rebuked for this, but one of the best reasons for being a lady concertina player is the number of lovely fellers there are around. Take John Kirkpatrick, for example - he and Sue did an enchanting set in the Tillage Hall, and he uses an Anglo for song accompaniments like no one else. There will be space in other issues for Chris Coe, Dave Whetstone, Dave Townsend and more, but my last Towersey recollection is of Roger Watson borrowing my Wheatstone English for the memorable Muckram Wakes reconstruction. Pure, unadulterated nostalgia - and a suitable note on which to start a New Year! * * * * * * * * MORE ABOUT THE TANZBAR PLAYER CONCERTINA Following Phil Inglis article about the unusual 'instrument' in his possession, Pat Robson writes... This (the Tanzbar) I found very interesting as, a few years back, I had a long telephone conversation with a Mr Loveland of 2 Ingworth Road, Branksome, Poole, Dorset. He had one. Paid around £1500 for it. It worked OK and he had had some extra rolls cut for it by Pete Watts of Chipping Norton, who sakes automatic instruments and cuts rolls for them. Loveland told me he played it in old people's homes, etc, for which he had suitable music on the new roils. He also had one of the original roils. He said there were only three instruments in the country, one of them in 'Portobello Road. The name 'Tanz(i)bar' means 'Dancing Bear' and it was meant for the people who travelled around the country fairs during the last century with a bear that danced. The advantage was that the instrument always played the same tune, in the same way, which the bear recognised and could dance to without any mistakes. Quite a sensible arrangement should the bear's master imbibe too freely. I am told by a model-maker friend and engineer with a small 4' cube fairground organ that uses postcard size folded 'book1 music, that the hard paper type material used by transformer winders, called Presspahn, is ideal for this purpose as it's thin, stiff, and compact, and cones in rolls. It can also be used for bellows-making. I hope this information will be of use to Phil Inglis. YOUR LETTERS.... A serious subject Together with my late father's Lachenal McCann Duet Concertina, on which he played only classical music at many concerts, I am passing down to my great-nieces all his collected literature on the concertina and the literature which I now receive from the ICA. To my father this was a serious subject - as it is to me - and in order to present it as such to my great-nieces who are playing members of a Youth Orchestra, I would like to see our Newsletter as it used to be - without the drawings and the decorations. Miriam Connerton 48 The Roundway, Anlaby Park, Hull. Delightful 'Dream' I recently went to a performance given by the Ballet Rambert of their production 'Sergeant Early's Dream'. It was a good ballet, consisting of a number of short dances performed to British, Irish and American folk songs and tunes. There were seven musicians who took it in turns to play either singly or in groups but the thing that really delighted me was a young lady who played both English and Anglo concertinas - not at once, I might add! Gwen Dilke 16 Shelvers Way, Tadworth, Surrey. Anachronistic Twist I wonder if any other members of the ICA noticed the concertinas appearing in the recent serialisation of Oliver Twist on BBC1 on Sundays? During two street scenes a sort of one-man-band chap appeared to be playing a modern English - probably Italian made - of the highly coloured sort, red predominant. At least, that's what it looked like during the brief glimpses I had. In another episode, depicting the interior of a public house, there were lengthy scenes of a Duet player; all quite effective. I noticed from 'Radio Times' he was Peter Honri and he is listed in the 1974 ICA membership list, though not in the 1985 list. Oliver Twist was written c 1837 and I feel it is unlikely that concertinas of the type shown in the TV adaptation were around in the streets and pubs of that time! Partly through lasiness and partly from ignorance of all the necessary facts and 'qualifications' I havd not written to the BBC about this. I rather hoped someone more worthy than I would be writing to the Beeb. Incidentally, during the serialisation of another 'old time' drama a character was shown playing an English concertina - and even held it upside down to do so! I should have written in, shouldn't I? Whenever an oldy-worldy-folksy subject comes up for dramatisation the producers always throw in a concertina. Why? Isn't it time someone gave them the gen? Mira Curtis 14 Stoney Lane, Winchester, Hants And... Honri plays a fine concertina, but this was ridiculous. Oliver Twist was first published in 1838, some years before Wheatstone's 'Improved Concertina' patent so the hexagonal instrument Honri plays is quite out of keeping with the period. Even if it had been available, no low-life character such as Honri portrays could have afforded it. The only concertina available at this period would have been some type of 'Square German1. Possibly the simple 20-key box 'The Blind Girl' in Mllais1 painting of 1850 is playing. This painting is in Birmingham Museum. Pat Robson Meadowlands, Crookham Village, Aldershot, Hants ...An account of how Peter Honri created the character of the concertina player for the film version of Oliver Twist can be found in his family history 'Working the Halls'. together with a startling close-up photograph. ... Ed. Whither the I.C.A? - A Personal View I haven't much time for organisations or committes who are continually asking for directions from the membership on how they should be planning for the future. Most memberships elect committees precisely so that they don't themselves have to worry about such matters. But the ICA hasn't, as far as I know, looked critically at itself for a good long while and changes have recently been happening which mean it should start. First, we're getting bigger: membership topped 200 last month for first time for years and, maybe, the first tine ever. An excellent development in every way, but new members could mean fresh ideas on what the ICA should be up to, and I think now is the tine to ask them. Second, the last few years have seen regional concertina groups set up to meet and play together in ever-increasing numbers. First of course came the famous West Country Players but, since then, groups have formed in Leighton Buzzard, Wales, Nottingham and are probably forming in other areas as I write. Once again, a fantastic boost for concertina playing and standards, but one which raises questions about the proper role for the ICA in this new world. Once upon a time it was the principal forum where concertina players could meet and play together. How most playing is done outside London, at local meetings, and it looks as if the centres of concertina activity will remain there for a while to come.
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