Contents Concertina World 443, June 2009

 1 Index                                                                            
 2 Editorial                                   
 3 The chairman’s view
 5 Ricardo Teruel
 8 Kilve weekend  
12 German Concertina Weekend   
13 Repair Corner
14 Cd review
15 Anglo History Musings
20 Don’t squeeze alone
22 Music for Carol Concerts
23 Swaledale Squeeze
25 Rita Cavanagh
27 Web’s Wonders
28 My University Music Course
30 Errata
31 Concertina Ergonomics
36 Letters to the editor

Contents Concertina World 442, March 2009

 1 Index                
 2 Editorial  
 3 Words from the chairman
 5 Interview Michael Hebbert
 6 Hawkwood Concertina Band  
10 Repair Corner  
13 Cd review
15 2009 An Anniversary Year
18 Cd reviews
20 Ramble 5
22 Concertina Ergonomics 5
28 Carol Concert in Ampthill
29 Lewes Arms Folk Club
30 My University Music Course
31 Swaledale Squeeze
32 Web’s Wonders
34 Concertina Chat
37 Letters to the editor

Viva Regondi!

Briefly Noted

Viva Regondi!

On Friday, 17 March 2006, the Center for the Study of Free-Reed Instruments at The Graduate School of The City University of New York presented a concert entitled Viva Regondi, likely the first all-Regondi concert in ‘modern’ times.

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Don’t squeeze alone

 

The ICA has an extensive library, available to members, and a lively quarterly newsletter, “Concertina World” acts as the mouthpiece for the members. Contributions are welcomed (the editor would love to hear from you).

Various concertina-related events have been sponsored by the ICA, including Concertinas at Witney, Kilve Weekend, the Swaledale Squeeze, and the gathering in the nostalgic setting of the Mexborough Concertina Band Club. Individual young players are also sponsored, via bursary awards towards tuition at Concertinas at Witney and the Durham Folkworks Summer School, and a grant to the Hope Valley Squeezebox Project aimed at encouraging the future generation of concertina players to take part in a structured learning activity.

We have an Internet mailing list exclusively for members of the ICA and, of course, this web site. Most of the mainland UK is within 2-3 hours drive of a regular meeting for players — the ICA can help you find one near your home! Several key folk festivals offer concertina workshops. So why not join us now and find out more about concertina events?

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A small number of advertisements were included in PICA as a service to Concertina Players, the ICA membership and the people and players who gave their time and knowledge to create this publication. The advertisements appear below in the same order as they appeared in PICA.

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Contributors volume 2

Chris Algar (barleycorn@concertina.co.uk) is head of Barleycorn Concertinas (Stoke-on-Trent), which is generally thought to have the largest selection of concertinas in the world, including rare and unusual ones. A longtime Morris musician, he now plays Irish music with a couple of bands.

Allan Atlas (aatlas@gc.cuny.edu) is on the Musicology faculty at The Graduate Center of The City University of New York. His performance—together with mezzo-soprano Julia Grella O’Connell—of The Confession of Devorgilla (Music Supplement) can be heard at the online version of PICA.

Benjamin Bierman (ben@benbierman.com) is a composer-arranger-trumpet player with a wide range of musical experience. As a trumpeter, he has performed and recorded with the likes of B. B. King, Machito, Tito Puente, and Ray Barretto; as a composer—he is completing the Ph.D. in Composition at The Graduate Center of The City University of New York—he has studied with David Del Tredici, Tania León, and John Corigliano, and his Proximities for orchestra was recently accorded ‘special recognition’ by the Los Angeles Philharmonic’s Synergy Project competition. Currently a Graduate Teaching Fellow at Baruch College/CUNY, he arranged The Confession of Devorgilla for English concertina and mezzo-soprano on commission from the New York Victorian Consort.

Faye Debenham was born in Western Australia and immigrated to British Columbia, Canada. Though Vancouver was a step in a ‘working holiday’ around the world, it was there that she met and married Albert Debenham and, most latterly, enjoyed a career encompassing politics and government circles. Sparked in part by her husband’s tale of two grandparents of artistic merit—grandfather Edwin, a prominent Victorian photographer, and grandmother Marie (Lachenal), a kind and gentle lady ‘who played the concertina’, she undertook research on the Debenham family, which in turn led to research on the concertina and the partnership with her co-author, Randall C. Merris.

Roger Digby has been playing Anglo concertina for over thirty years. Playing in a fiercely English style when performing with Flowers and Frolics, he extends the instrument’s range far beyond its assumed limitations, stretching it most fully when accompanying the wide repertoire of Bob Davenport. He has a passionate belief in the integrity of traditional music.

Eric Matusewitch (ematuse@aol.com) is the Deputy Director of the New York City Equal Employment Practices Commission and author of the Manager’s Handbook on Employment Discrimination Law (Andrews Publications, 2000). The son of the late concertina virtuoso Boris Matusewitch (1918-1978) and himself an amateur concertinist, he often performed with his father during the 1960s-1970s, with programs at Carnegie Recital Hall and the New-York Historical Society among their many joint performances (yes, they do use a hyphen in New-York).

Randall C. Merris (rmerris@imf.org) is an economist at the International Monetary Fund and an amateur concertinist. He has been an economist at the Federal Reserve Bank of Chicago, has taught economics and finance at the Kellogg Graduate School of Management, Northwestern University, and has consulted with Asian governments on economic policy and financial reform. He writes mainly on economics and occasionally on the concertina and its history, and he is the author of ‘Instruction Manuals for the English, Anglo, and Duet Concertina: An Annotated Bibliography’, The Free-Reed Journal, 4 (2002), which is also available online at <http://www.concertina.com/merris/bibliography>.

Harry Scurfield (harry@scurfieldh.fsnet.co.uk) plays and sometimes teaches the Anglo concertina. His repertoire includes adaptations of blues and early jazz, English traditional dance tunes, and raucous singing accompanied on the instrument. An interest in the broad range of possible contexts for the Anglo led, amongst other things, to a lasting interest in African concertina playing.

Tom Tonon (ttonon@bluesbox.biz) received a BS in Mechanical Engineering from Pennsylvania State University and an MA and Ph.D. in Aerospace and Mechanical Sciences from Princeton University. He has worked in several areas, including literature (writing), carpentry, factory assembly, liquid propellant rocket engines, thin film photovoltaics, and catalytic combustion, and is currently Senior Engineer at AIL Research, Inc., working in the field of liquid desiccant air-conditioning. He has several publications and patents in these areas, and is currently developing an acoustic pitch-bending technology for free-reed instruments.