‘Why Would I Buy an Old Concertina?’

It’s the question we’re coming across more and more frequently these days. ‘Why would I buy an old concertina when I can get a brand new one?’. It’s a fair question, and an understandable one too, considering that a plethora of modern makers are producing these instruments in varying shapes, sizes and ranges. The answer, of course, will always be completely subjective depending on your requirements of a concertina, how you like them to look, and how they sound. But we thought we’d write a little defence of the antique concertina, and explain why your potential judgement of an instrument based on its age might not result in you buying the better concertina.

The concertina, like any invention, improved over time. The very first examples of the English-system concertina were made by Louis Lachenal for Charles Wheatstone in Victorian England over 180 years ago. These concertinas were inefficient in their design and in their reed-making, and had a minimal amount of folds in the bellows. The evolution of the concertina saw better quality of reeds being made, chambers being introduced to the reedpan to provide differing amounts of air depending on the size of the reed, and larger amounts of bellows folds became the norm. We then see the innovative designs of the Edeophone and Aeola by Lachenal and Wheatstone respectively, embracing the long-scale reed as the best quality reed that could be produced, alongside alterations to the ratios of the levers and pivots in the action to optimise efficiency. In terms of the concertina as a machine, the peak that was reached by Wheatstone especially has never been surpassed- only emulated. As Steve Dickinson of Wheatstone Concertinas has said, the only thing Wheatstone might have potentially changed if they were using today’s technologies is the use of superglue, as opposed to the only options they had available to them in the early 1900s. The main point we’re trying to make here is that how the concertina actually works is no better in 2024 than the peak that had previously been reached by the makers of the 1900s. Granted, time can be cruel to any machines, but we have the ability to restore actions to as good-a-condition as they were when they were made.

Another factor that has to be considered is the quality of materials used. There is no doubt that top-end instruments made by Wheatstone were made of more durable materials than anything being made today. These are concertinas with reeds, bellows, screws, bolts, and sometimes even pads and valves that have survived over 100 years- often still in working order. That’s not to say that they wouldn’t need any kind of restoration because they would, but it’s common knowledge that manufacturing in 2024 involves compromise on the quality of materials to keep costs reasonable- this is not just in the world of concertinas, but universally. Environmental issues are also a factor in this. Many materials and processes used in the 1920s were simply not sustainable, but that does mean that it’s very difficult to emulate the quality of product made in times where these issues played zero part in production. It is of course true that a much wider range of woods are available in modern times to anybody anywhere, so much more exotic looking concertinas can be produced at a lower cost. This is one area where antique instruments cannot match their modern counterparts, so if the aesthetics of your future instrument are the driving factor, then a new concertina may well be for you.

The final thing to consider when asking ‘Why would I buy an old concertina?’ is the price. We are very fortunate to be in the position of being the only large-scale dealer of these genuine concertinas, which means we have an influence when it comes to pricing and the market for concertinas. We haven’t matched inflation for many, many years now, as we want the concertina to remain accessible to as many people as possible, and to keep this wonderful instrument living on. Our standard price for a Wheatstone Treble Aeola is around £4000. Equivalent models from modern makers can be as much as £10,000 to £12,000, which begs the question- can any concertina made using the exact same techniques as Wheatstone with their top-end, top-period Aeolas possibly be worth double or triple the price? The answer is very much up to you- the individual purchaser. If you love the idea of having your own unique instrument made to your specifications and with your designs, then that is entirely your prerogative, and an entirely understandable one at that. But if you are in the position of wanting to buy a top concertina and have preconceptions about the ‘old ones’, then please do consider the points above. For half the price, you can skip a waiting list of years and buy the quality instrument that everybody is currently trying to recreate, and one that has survived over 100 years and will survive hundreds more with the right care.

In summary, don’t look down on the old concertina- their peak remains the concertina’s peak.