Posted 01 February 2006

A 41-cent emendation:

a textual problem in Wheatstone’s publication of
Giulio Regondi’s Serenade for English concertina and piano

Allan W. Atlas

In memory of Eric Van Tassel and Jan LaRue


Although the firm of Wheatstone & Co. was the most prestigious manufacturer of the English concertina (see illus. 1) during the 19th century,1 its editions of music for the instrument were often less than satisfactory.

wheatstone treble concertina no 5899
1. Wheatstone treble, No. 5899, with rosewood ends and its
original brass reeds and meantone temperament still in place
(author’s collection).
The Wheatstone sales ledger C1049, p. 92 (Wayne Archive, The Horniman Museum, London), shows that it was sold for the first time on 5 March 1856 to Mr W. Peel, Esq., for £12.12.0 (and was thus top-of-the-line); there is circumstantial evidence that points to this being William Peel, third son of the late Prime Minister, Sir Robert Peel (see my forthcoming article, ‘The Gendered Concertina’, cited in n. 12); the extant nineteenth-century Wheatstone sales ledgers appear online at

One publication in particular, that of Giulio Regondi’s Serenade pour la concertina avec accompagniment de piano forte, published in 1859 (though the piece was likely composed some years earlier),2 may serve to illustrate the problems (see illus. 2 and illus. 3).

2. Giulio Regondi (1822–1872): lithograph by Edward Gunstone (1852),
from a daguerreotype by Laroche (courtesy of Douglas Rogers).
title page of regondi, serenade
3. Title page of Serenade (Wheatstone & Co., [1859]).
Rosa Binfield, to whom the piece was dedicated, was a member of the Binfield family of Reading, a number of whom played and taught the English concertina; Regondi was especially close with the family from no later than 1839, when, probably at the Binfields' invitation, he appeared at the Berkshire 11th Triennial Music Festival at Reading.

First, Wheatstone’s issued the Serenade in a format that consisted of separate piano and concertina parts only (a practice in which they were certainly not alone), thus requiring those who would have studied the piece closely to go through the laborious task of scoring it up themselves. Indeed, we can only wonder how many Victorian pianists accompanied “blindly,” as it were—that is, without the concertina part in front of them—and with what results (though, to be sure, the interplay between the concertina and piano is not complicated). Second, recurring passages often show seemingly ‘irrational’—and surely non-authorial—inconsistencies with respect to such matters as phrasing, articulation, and embellishments. Example 1 illustrates those that permeate just one of the Serenade’s recurring phrases.

music example 1
Ex. 1. Regondi, Serenade: a recurring phrase in the
concertina part, with three different sets of indications for phrasing,
articulation, and embellishments: (a) bars 55-58, (b) bars 63-66,
and (c) bars 105-108 (repeated at bars 113-116).

Finally, though the publication contains no notes that are blatantly incorrect, there is one note that is at least highly suspect, and it is on that note—surely the most interesting wrong or questionable note in the entire repertory of Victorian art music for the English concertina3 (and, in terms of the emendation that I will suggest, one of the most interesting regardless of period or instrument in general)—that I will concentrate here.

The note in question—a high e’’’ (marked with an asterisk in Example 2a)—appears as the final semiquaver in bar 159, where it stands as the penultimate note in a sweeping, two-octave ascent of uninterrupted semiquavers that reaches its climax on the downbeat of bar 160, on yet another e’’’. Example 2a provides the entire passage as it appears in the Wheatstone publication, together with the bar that immediately follows it.

regondi serenade measure 159
Ex. 2. Serenade, bars 158-161: (a) reading in
Wheatstone publication; (b) suspect note emended to
read f’’’ sharp; (c) suspect note emended to read e’’’ flat.

The problem as I see it is this: would Regondi have undercut and thereby deadened the climactic e’’’ on the downbeat of bar 160 by anticipating it with the very same note just one semiquaver earlier? Though the Dutch concertinist Wim Wakker and I each permitted the questionable e’’’ to stand in our respective editions of the piece (see note 2), Regondi, I think, was too good a composer to have ended the phrase as if hitting a wall—it is almost as if he miscalculated the number of notes needed to make a clean sweep to the downbeat of bar 160—and I would now suggest that the e’’’ at the end of bar 159 stands in need of emendation.

How, though, should we emend it? One possibility—already suggested (though in the form of a question) in the critical notes to my edition—would be to emend the e’’’ with a note a whole step higher, that is, with an f’’’ sharp, so that we approach the climactic e’’’ from above (see Example 2b, where the emendation is marked with an asterisk). This emendation has three things to recommend it: (1) the f’’’ sharp makes perfectly good musical-grammatical sense, as we hear it as a fleeting added ninth above the dominant-seventh chord that itself sounds over a tonic pedal (or, in terms of melodic function, an ‘incomplete’ upper-neighbour;4 (2) Regondi used that figure (a falling second after an upward leap) throughout the Serenade, even if in different contexts (see Ex. 3); and (3) it falls nicely under the concertinist’s fingers, more so, perhaps, than the successive e’’’s.

music example 3
Ex. 3. Regondi, Serenade, recurring instances of the falling
second on various scale steps including 6 – 5: (a) bars 59-60; (b) bars 67-68.

Finally, we can easily imagine a printer’s fair (or not-so-fair) copy in which the placement of the f’’’ sharp at the end of measure 159 was just a bit off the mark. Perhaps the note head intersected (if even slightly) with the ledger line instead of resting entirely upon it, and thus led the printer to take it for and print it as an e’’.

Yet plausible as this emendation might be—both musically and in terms of accounting for the printer’s likely error—5 I think Regondi might have had something else in mind. More specifically, I think that we might be dealing with a typographical error of omission rather than one of commission; and more specifically still, I think that a clue to a more likely emendation lies in the prevailing temperament to which concertina manufacturers tuned their instruments at the time.

Briefly, from the time that Charles Wheatstone developed the English concertina in the late 1820s to some hazy and uncertain point in the mid-1850s/early 1860s, Wheatstone’s and other manufacturers utilized a meantone temperament in which they divided the octave into fourteen notes and, split key-like fashion, distinguished between the pitches of—and provided separate buttons for—G sharp and A flat, on the one hand, and D sharp and E flat, on the other, with the latter note of each pair sounding forty-one cents—or approximately a quarter tone—higher than the former (see illus. 4).6

button board of a 48-button, treble English concertina
4. The button board of a 48-button, treble English concertina,
after Giulio Regondi, New Method for the Concertina
(Dublin: Joseph Scates, 1857).
Note that all notes written on the lines (or ledger lines) of the staff appear in the left hand, while those in the spaces appear in the right hand. The two inner vertical rows in each hand give the white notes of the keyboard, the outer rows, the black notes. Thus the g’ sharp is the next-to-lowest button in the innermost row of the left hand, while the a’ flat is the third button from the bottom in the innermost row of the right hand; the buttons directly above those give d’’ sharp and e’’ flat respectively. Among the pairs of notes in the D sharp/E flat and G sharp/A flat complexes, only the high g’’’ sharp (highest button in the outermost row in the left hand) does not have a complementary a’’’ flat.

That the manufacturers of what was in effect a new instrument opted to outfit it with a seemingly outmoded temperament should not surprise us. First, England was relatively slow to adopt equal temperament; and it was not until 1846, for example, that the London firm of Broadwood adopted equal temperament as the standard tuning for its pianos, while churchgoers could still hear the occasional meantone organ for another forty or so years after that.7 Second, Charles Wheatstone was a physicist, not, as far as we know, a practical musician, and his main interests in music lay primarily in the field of acoustics. In fact, his “Harmonic Diagram” of 1824 (see illus. 5) and the published “Explanation” that accompanied it betray a mind intent on dividing the whole tone into a number of microtonal parts.8

wheatstone's harmonic diagram
5. Charles Wheatstone’s ‘Harmonic Diagram’ (1824)
(British Library, Music Division, M.23).

What, then, does all of this have to do with our problematic e’’’? I would suggest that we might emend that note simply by inserting a flat in front of it, thus exploiting the D sharp/E flat dichotomy and altering the passage to read as shown in Example 2c (the emendation marked by an asterisk). The benefits of this emendation are at least fourfold: (1) it keeps the ascending scale passage intact right up to the very end (unlike either the e’’’ natural or the f’’’ sharp); (2) it produces the ‘tightest’ possible leading tone to the climactic e’’’ on the downbeat of bar 160; (3) if the fair copy had the flat in front of the e’’’, it charges Wheatstone’s printer with less egregious error—one of omission—than does the emendation that calls for the f’’’ sharp (in fact, we might even excuse it on the grounds that the printer's eyes may have rolled upon seeing d’’’ sharp and e’’’ flat in succession; and (4) it too lies nicely under the fingers.

Finally, among composers who wrote for the English concertina Regondi was not alone in exploiting the forty-one-cent difference in pitch between the D sharp/E flat or the G sharp/A flat that the meantone temperament and fourteen-note octave made possible. And though I cannot claim to have seen every last one of the hundreds of pieces written for the English concertina during its “meantone period”, I can point to at least two other instances in which composers wrote for the instrument with an ear toward that temperament.

The later of these appears in George Alexander Macfarren’s Barcarole, which, like Regondi’s Serenade, was published in 1859 (but, unlike it, was probably composed either that same year or only shortly before then). In fact, as Example 4 shows, Macfarren was rather more daring than Regondi, as he has the concertina lean heavily on an a’ flat that serves as a high-and-tight (and somewhat dissonant) leading tone to an a natural while the piano (by now presumably in equal temperament) arpeggiates a G-sharp-filled C-augmented chord (and the G sharp could not have been in tune with the concertina's A flat) that will resolve to a triad on F.9

music example 4
Ex. 4. Macfarren, Barcarole, bars 3-6 (repeated
at bars 65-68).

The earlier instance occurs in Joseph Warren’s Grand Fantasia in which is Introduced “Deh! Con te,” from Bellini’s Opera Norma, which, though not published until 1855, was one of the two pieces with which the fifteen-year-old Regondi put the fledgling English concertina on the map as a concert instrument when he performed it at the Birmingham Festival in 1837.10 And here even the context is similar, as the movement from d’’’ sharp to e’’’ flat makes the chromatic scale even more “colourful” than equal temperament would allow (see Example 5).

music example 5
Ex. 5. Warren, Grand Fantasia, bars 148-149 (asterisks
mark the d’’’ sharp and e’’’ flat).

In all, I would not be surprised if Regondi had Warren’s piece in his ear when he chose to exploit the forty-one-cent difference between D sharp and E flat.

In conclusion, I rather expect my proposed emendation to be greeted with yawns. After all: (1) the English concertina was, in terms of its role in art-music circles, a marginal instrument even during its mid-nineteenth- century heyday, when it was a familiar sight and sound in London’s leading concert halls and a most fashionable instrument among the upper- and upper-middle classes as a whole, the titled aristocracy very much included;11 (2) Regondi is not a giant among composers (though his contributions to the repertories of both the English concertina and the guitar are seminal); and (3) the focus of Wheatstone & Co’s publishing activity was extremely narrow. And yet, there is something rather special about this little forty-one-cent emendation. For as far as I can tell, it is the only instance—regardless of period or instrument—in which what is likely the correct emendation of a wrong (or at least suspect) note is driven entirely by the temperament/tuning of the instrument for which it was written.



An earlier version of this paper was read at the Society for Textual Scholarship Thirteenth Biennial International Interdisciplinary Conference, New York University, 17 March 2005.

1 The firm was also known as C. Wheatstone & Co., after the family’s most illustrious member, the physicist Sir Charles Wheatstone (1802-1875), who is best known for his role in the development of electronic telegraphy and, among musicians, for having developed the English concertina in the late 1820s, and W. Wheatstone & Co., first after Sir Charles’s uncle, William Wheatstone (1775-1854), and then after his brother, William Dolman Wheatstone (1804-1862), with the two Williams seemingly having run the day-to-day affairs of the business during their lifetimes); perhaps Sir Charles took an active interest in the company from the time of his brother’s death until it was purchased by the Chidley family (related to the Wheatstones through marriage) c. 1870. In addition to manufacturing concertinas, Wheatstone’s also produced flutes (at least early on) and seraphines/harmoniums, and published a large amount of music, mainly for the English concerta. On the firm of Wheatstone, see Peter Kidson, William C. Smith/rev. by Peter Ward Jones, “Wheatstone,” in The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie and John Tyrrell (London, 2001), xxvii, pp.334-35 (hereafter New Grove/2); The new Langwill index: a dictionary of musical wind-instrument makers and inventors (London, 1993), p. 426; Neil Wayne, “Concertina Book—Final Edit,” (1986), pp. 29-51 (an unpublished manuscript of which there is a copy in The Horniman Museum, London), and “The Wheatstone English Concertina,” The Galpin Society Journal, xliv (1991), pp. 117-49 (now online at; all online citations last accessed 28 March 2005; Wes Williams, “The Concertina History Resource,” online at, which offers an authoritative timeline of the main events in the firm’s history; Stephen Chambers, “Some Notes on Lachenal Concertina Production and Serial Numbers,” Papers of the International Concertina Association, i (2004), pp.19-20, n. 18 (the title refers to Louis Lachenal, Wheatstone’s main competitor from the late 1850s on); available online The standard biography of Sir Charles is Brian Bowers, Sir Charles Wheatstone, FRS 1802-1875 (London, 1975; 2nd ed., London: The Institution of Electrical Engineers, 2001), which treats mainly of his scientific work, as does Sigalia Dostrovsky, “Wheatstone, Charles,” in Dictionary of Scientific Biography, ed. Charles Coulston Gillispie (New York, 1976), xiv, pp. 288-91. On the English and other kinds of concertinas (‘Anglo-Continental’ and ‘Duet’), see Allan W. Atlas, The Wheatstone English Concertina in Victorian England (Oxford, 1996), and “Concertina,” in New Grove/2, vi, pp. 236-49; Maria Dunkel, “Harmonikainstrumente,” in Die Musik in Geschichte und Gegenwart, rev. ed., ed. Ludwig Finscher, (Kassel, 1996), Sachteil, iv, cols. 167-210, especially 175-76. [ Back to text ]

2 The publication itself bears no date, with 1859 being that assigned to it (on the basis of its date of deposit) by the British Library’s online Integrated Catalogue (; the piece was reprinted—without alteration, but with the plate number 1209 added (the 1859 publication has no plate number)—in 1905 or shortly thereafter (the new title page bears the address 15, West Street, Charing Cross Road, to which location the firm moved at that time from its longtime home at 20 Conduit Street, Regent Street). There are two modern editions of the piece, both based on the unaltered, but seemingly more widely-circulated publication of circa 1905: Atlas, The Wheatstone English Concertina, pp. 124-37 (with critical notes on pp. 80-81, 86, and a reproduction of the 1859 title page on p. 123); Wim Wakker, in the series titled Concertina Connection Music Publications (Helmond, NL, n.d.), No. 80309 (one can view measures 1-6 and 55-60 online at The piece has been recorded by Douglas Rogers (English concertina) and Julie Lustman (piano) on The Great Regondi: Original Compositions by the 19th Century’s Unparalleled Guitarist and Concertinist, The Regondi Guild, Bridge Records BCB 9039 (1993).

On Regondi (1822-1872), the nineteenth century’s great virtuoso on the instrument (and one of its leading guitarists), see Thomas F. Heck, “Regondi, Giulio,” in New Grove/2, xxi, p.122; Douglas Rogers, “Giulio Regondi: Guitarist, Concertinist or Melophonist: A Reconnaissance,” Guitar Review, xci (Fall 1992), 1- 9; xcii (Winter 1993), 14-21; xcvii (Spring 1994), 11-17; Tom Lawrence, “Giulio Regondi and the Concertina in Ireland,” Concertina World: International Concertina Association Newsletter, 411 (July 1998), pp. 21-25 (also online at; Helmut C. Jacobs, Der junge Gitarren- und Concertinavirtuose Giulio Regondi: Eine kritische Dokumentation seiner Konzertreise durch Europa, 1840 und 1841 (Bochum, 2001); Atlas, The Wheatstone English Concertina, pp. 48-54; “Giulio Regondi: Two Newly Discovered Letters,” The Free-Reed Journal, iv (2002), pp. 70-84; and “Collins, Count Fosco, and the Concertina,” Wilkie Collins Society Journal, n.s., ii (1999), pp. 56-60 (the last two articles also available online at; on Regondi as guitarist, see Stewart Button, The Guitar in England, 1800-1924 (New York: Garland Publishing, 1989), pp. 100-13, 126-33; and a series of five articles by Alessandro Boris Amisich, the first four of which appeared in Il ‘Fronimo’: “Giulio Regondi: Un bambino prodigio,” xi/no. 45 (October 1983), pp. 32-34; “Giulio Regondi: La carriera concertistica negli anni ’40,” xv/no. 58 (January 1987), pp. 34-43; “Giulio Regondi: Compositore e concertista,” xvi/no. 62 (January 1988), pp. 28-40; “Giulio Regondi: Dieci studi ed una foto,” xix/no. 76 (July 1991), pp. 38-45; and “Where Was Giulio Regondi Born?” to appear in Papers of the International Concertina Association, iii (2006). There is a modern edition of Regondi’s works for guitar in Giulio Regondi: The Complete Works for Guitar, ed. Simon Wynberg (Monaco, 1981), which, however, must be supplemented by Giulio Regondi: Ten Etudes for Guitar, ed. John Holmquist (Columbus, OH, 1990); unfortunately there is no such edition of his much more substantial output for English concertina. Finally, for the very plausible suggestion, based on stylistic criteria, that the Serenade was composed as early as the 1840s, see Rogers, “Giulio Regondi,” Pt. 2, p. 17, n. 12 (cited above). [ Back to text ]

3 The repertory was extensive, especially for an instrument whose “home” was in the mid-nineteenth century, essentially limited to the upper socio-economic layers of the British Isles (see note 12, below). Thus the 1860 Catalogue of Ewer & Co’s Universal Circulating Music Library (London, 1860), pp. 232-37, accounts for no fewer than 447 items for the instrument (Nos. 31395-842). Briefly, there are concertos, sonatas, and a series of wonderful “character” pieces by such mainstream composers as George Alexander Macfarren (see Example 4, below), Julius Benedict, John Barnett, and Bernhard Molique, as well as original compositions and droves of “fantasias” and variations on popular melodies (opera arias, “national” songs, etc.) and arrangements for various concertina ensembles by the likes of Giulio Regondi, Richard Blagrove, and other virtuosos and “Professors” of the instrument; on the repertory, see Atlas, The Wheatstone English Concertina, pp. 58-72; and “The Victorian Concertina: Some Issues Relating to Performance Practice,” forthcoming in Nineteenth-Century Music Review (2006). [ Back to text ]

4 My thanks to William Rothstein for the terminology, which uses ‘incomplete’ on the grounds that while the f’’’ sharp resolves to the e’’’, it did not leave from that note. [ Back to text ]

5 I consider an emendation plausible only if it meets both of those conditions. Thus while we could easily fashion the clean sweep to the climactic e’’’ quite simply by changing either the first, seventh, or eleventh sixteenth note of bar 159—e’’, b’’, d’’’ sharp, respectively—to an eighth note, none of these alterations can logically be reconciled with the passage as it was ultimately printed, and none of them is likely either to have been in the fair copy or to represent Regondi’s intentions. [ Back to text ]

6 About the use of meantone temperament on the English concertina, see Atlas, The Wheatstone English Concertina, pp. 39-47, and, in greater detail, my forthcoming “The Victorian Concertina,” cited in note 3. We do not know just when the conversion from meantone to equal temperament began, and it seems safe to assume that it took place gradually; indeed, there is abundant evidence that the systems overlapped. [ Back to text ]

7 See Alexander C. N. Mackenzie of Ord, “The Well-Tuned Organ: An Introduction to Keyboard Temperaments in 18th- and 19th-Century England,” British Institute for Organ Studies Journal, iii (1979), pp. 56-72, and “The Adoption of Equal-Temperament Tuning—A Performing Imperative or a Fashionable Fad?” British Institute for Organ Studies Journal, xxvii (2003), pp. 91-111. [ Back to text ]

8 The “Explanation” is printed in Charles Wheatstone, The Scientific Papers of Sir Charles Wheatstone (London, 1879), 14-20. Wheatstone’s use of meantone temperament drew the condescending wrath of Hector Berlioz, who, after praising the timbre of the English concertina in his Grand Traité d’instrumentation et d’orchestration modernes, 2nd ed. (Paris, 1855), p. 287, wrote that the instrument’s temperament ‘se conformant ainsi à la doctrinedes acousticians, doctrine entièrement contraire à la pratique des musicians’. Berlioz became familiar with the English concertina when he served as a one of the judges for musical instruments at the Great Exhibition of 1851, at which Wheatstone and a number of other concertina manufacturers exhibited; see Great Exhibition of the Works of Industry of all Nations, 1851. Official Descriptive and Illustrated Catalogue (London, 1851), pp. 469–70; Musical Instruments in the 1851 Exhibition, ed. Peter and Ann Mactaggart (Welwyn, Herts, 1986), p. 60; and the Illustrated London News, supplement to vol. xix, no. 512 (23 August 1851). [ Back to text ]

9 On the problem of the meantone English concertina against the equal-tempered piano, see Atlas, “The Victorian Concertina” (see note 3). [ Back to text ]

10 There is an edition (with a reproduction of the title page) in Atlas, The Wheatstone English Concertina, pp. 87-107, which also discusses the piece, the performance, and Warren’s concertina-related activities (pp. 49, 57, 76- 77); on the performance, see also John Thackray Bunce, A History of the Birmingham General Hospital and Music Festivals, 1788-1873 (Birmingham, 1873); on Warren, see W. H. Husk/Bruce Carr, ‘Warren, Joseph’, in New Grove/2, xxvii, pp. 93-94; James D. Brown and Stephen S. Stratton, British Musical Biography: A Dictionary of Musical Artists, Authors and Composers Born in Britain and its Colonies (London, 1897/reprint: New York, 1971), p. 434; The Dictionary of National Biography, 22 vols., ed. Leslie Stephen and Sidney Lee (Oxford, 1885–1891), xx, p. 874; Alec Hyatt King, Some British Collectors of Music c. 1600–1960 (Cambridge, 1963), passim. [ Back to text ]

11 On the instrument’s association with these circles, see Atlas, The Wheatstone English Concertina, especially pp. 1-7; “Who Bought Concertinas in the Winter of 1851? A Glimpse at the Sales Accounts of Wheatstone and Co.,” in Nineteenth-Century British Music Studies, i, ed. Bennett Zon (Aldershot, 1999), pp. 55-87; “The Gendered Concertina in Victorian England: Ladies in the Wheatstone Ledgers” (in preparation). [ Back to text ]


Allan Atlas ( ) is Distinguished Professor of Music at The Graduate Center, The City University of New York, where he is director of The Center for the Study of Free-Reed Instruments. He plays the English concertina (he is a member of the New York Victorian Consort, with Julia Grella O’Connell, mezzo-soprano, and Francesco Izzo, piano), and is currently working on a large-scale study titled ‘The Gendered Concertina in Victorian England: Ladies in the Wheatstone Sales Ledgers (1834–1870)’.

This document is unreleased;
Please do not cite or quote.
Print text double spaced
Print text single spaced
An emendation motivated by
the tuning of the particular
instrument for which
the music was written …


The original version of this article appeared in Early Music, Vol. xxxiii, No. 4 (November 2005), pages 609–618, published by Oxford University Press. All rights reserved.
© 2005 Allan W. Atlas.

Links to related documents

atlas-regondis-golden-exercise Signor Alsepti and “Regondi’s Golden Exercise”
by Allan Atlas
Discussion and explanation with new fingering of a celebrated excercise from James Alsepti's English tutor, published by Lachenal c. 1895, with the explanation “The following exercise, which has never before been published, was taught to Signor Alsepti by Regondi. It is very difficult for all instruments, especially the Concertina, and to thoroughly master it with the correct fingering &c. will enable the Pupil to play passages in all keys.”. As published in Concertina World 426 supplement (2003) pp. 1-8.
Posted 22 December 2003
» read full article
atlas-regondi-two-letters Giulio Regondi: Two Newly Discovered Letters
by Allan W. Atlas
Although Giulio Regondi was the foremost virtuoso of the English concertina, much about his life and career remains obscure. Two previously unnoticed letters deserve our attention. As published in The Free-Reed Journal, 4 (2002) 70-84.
Posted 01 September 2003
» read full article in pdf
regondi Wheatstone, His Sighing Reed, and The Great Regondi
Presented by Bernard Richardson
BBC programme on the history and music of the English concertina, focusing on its inventor Sir Charles Wheatstone and the first concertina virtuoso Giulio Regondi. In addition to the presenter, Bernard Richardson, the program features (in order of appearance) Allan Atlas, Neil Wayne, Brian Bowers, Alistair Anderson, Douglas Rogers, Jenny Cox, and Dave Townsend. BBC Radio4 programme broadcast 27 November 2007. Includes links to audio files of the entire programme in WMA format and MP3 format.
Posted 27 November 2007
» read full article
atlas-george-gissings-concertina George Gissing's Concertina
by Allan W. Atlas
Considers the ways in which the late-Victorian novelist George Gissing used the concertina as a prop in a number of novels and short stories. As published in The Journal of Musicology, XVII no. 2 (Spring 1999) 304-318.
Posted 15 September 2003
» read full article in pdf
atlas-collins-countfosco Collins, Count Fosco, and the Concertina
by Allan W. Atlas
The Victorian novelist Wilkie Collins had a very definite model in mind for Count Fosco in The Woman in White: the virtuoso concertinist Giulio Regondi. As published in Wilkie Collins Society Journal, N.S. 2 (1999) 56-61. The same article is available in PDF format reproducing the published article.
Posted 15 August 2003
» read full article
» read full article in pdf
lachenal-sig-wheatstone-concertina-ledgers Wheatstone Concertina Ledgers
Historical business records of C. Wheatstone & Co. from the Horniman Museum in London. Earlier ledgers from the Wayne Archives contain company sales records from the late 1830s to the 1860s along with production records from the 1860s to the 1890s and some early records of wages and other payments. Later ledgers from the Dickinson Archives contain production records from 1910 to 1974. All surviving ledgers have been digitized (some 2,300 pages in total) and made available free on the web for private research. The same material is also available to buy on an inexpensive CD. Includes an introduction to the project by Margaret Birley, Keeper of Musical Instruments at the Horniman Museum, and an article by Robert Gaskins describing in detail how the ledgers were digitized.
Posted 15 June 2003; Updated 15 June 2005
» go to directory
english-homepage English Concertinas
Concertina Library directory of all information on this website about English Concertinas.
Posted 01 January 2005
» go to directory
csfri-site Center for the Study of Free-Reed Instruments
by Allan Atlas
The CSFRI, part of the Doctoral Program in Music at the Graduate Center, City University of New York, is a resource for the scholarly study of all free-reed instruments (sheng, harmonica, accordion, etc.) and contains much of interest to concertinists. The site has news of upcoming concerts, and a listing of books, articles, recordings, and research material available at the Center's archives. CSFRI published The Free-Reed Journal (four volumes, 1999–2003), and now co-publishes the Papers of the International Concertina Association (PICA) with the ICA (2004–  ).

Search CSFRI powered by Microsoft
Posted 15 February 2003
» go to website