The Anglo-German Concertina: A Social History
By Dan M. Worrall, 2009
Two volumes, 440 illustrations, 28 transcriptions, 620pp.
Review by Rob Willis
Oral History and Folklore Collections.
National Library of Australia.
For over twenty five years I have been playing the Anglo Concertina, picking up tunes and bits and pieces of
knowledge from other players. These players included the very few we recorded for The National Library of
Australia. However the reality was that we were a generation too late to record the majority of traditional
concertina players and as often stated in rural communities, “most of the good players have gone”.
Unfortunately, even after all my ‘home learning’ I still did not have a grasp of the history of the instrument in
Australia nor for that matter anywhere else in the world.
Some months ago I received a parcel from American author, academic and concertina exponent, Dan Worrall. It
soon became obvious that Dan has an obvious love for his chosen instrument as there were not one but two
volumes under (as I initially thought) the daunting titles of ‘The Anglo-German Concertina: A Social History Vol 1
and 2’. Dan also asked me to make comment on his work if I so desired.
Normally I can read and review a book in a very short time. However this has not been the case with Dan’s
history as the sheer amount and diversity of interesting and informative information sent me off on various paths
and byways – a good thing for a book to do. Fortunately these volumes have the ability to be opened and read in
sundry fashion where a new story, fact or image will give you more information on the history of the Anglo
Concertina. Rather than skim the volumes my choice was to digest the lot and then make comment.
The joy/s of these two books is that they don’t just cover the social history of the instrument but cover a large
number of other interesting genres. If you are a trivia buff you will find plenty with which to amaze your
friends– little snippets such as the fact that bushrangers Frank Gardiner and Joe Byrne were concertina players,
information that I am shouting from the heavens. Dance enthusiasts will find interesting snippets on the
instrument’s important role, worldwide, in social dance. Religion, class and social structure (the Anglo in
comparison with “ its more elite cousin the English Concertina”) are all covered.
From the Australian perspective the relevant chapter also gives a potted history of the folk revival and other
elements that influenced the popularity and playing of the instrument. I found new information everywhere.
Worrall has truly captured the spirit of the Australian bush and the part the concertina played in outback culture
Both volumes have been structured in a very logical manner with the first chapter covering the ‘Invention,
Production and Marketing’ of the instrument and the later chapters being set out (mainly) by country.
England, Ireland and the use of the instrument on the sea are covered in Volume 1 whilst the second volume
covers South Africa (and the Boer tradition), Australia, New Zealand and North America. Volume 2 finishes with
musical transcriptions and playing styles and techniques from early players.
This is NOT dry, academic, writing but rather a well researched, well put together and easy to read publication. It
is complimented by rare photographs, sheet music, theatre (and other) programs and cartoons. The volumes are
liberally sprinkled with quotes from old newspapers an example being from an 1860’s Queensland publication:
“I was attracted to a spruce-looking house by the sounds of music, seeming a cross between bagpipes and an old
German accordion, but which I found proceeded from a concertina.”
Well – not everyone is enamored of the Concertina.
It is not very often I get enthused about a two volume social history and just to check that my enthusiasm was
warranted a phone call was made to my mate and fellow concertina player, John Harpley. John, who also had
purchased copies of the books agreed with me on all counts and mentioned that he had found the comparison of
playing styles and also the sheer number of the instruments sold worldwide of particular interest.
It is also pleasing to see how Dan Worrall consulted with fellow players and researchers in the various countries
and utilized the resources they provided. Peter Ellis, who I consider to be one of the best dance, concertina,
players in Australia was a major contributor in the Australian segment.
I must stress once again that this is NOT only a publication about Anglo-German Concertinas but covers a much
wider field of Folklore and Social history – worldwide. As such it should be a part of any music or history lovers
reference library. Available from Trad and Now.