Re: Harmonica family Jewish ?

[Spudicmikhl <Spudicmikhl...>]

       For those on the list interested in the saga of the Hohner harmonica 
and its "starred" past, here is some further informtion on the subject from 
noted harmonica builder, performer and authority Richard Sleigh  
(http://customharmonicas.com/sleigh/backgrnd.htm).  

       He has relayed some further information from a Hohner expert in 
Virginia named Rick Epping.  The person that Epping is referring to in the 
short note below is Martin Haeffner, the spokesperson for Hohner in 
Trossingen, Germany.

       Here goes:  
       [Email from Richard Sleigh]
       Hi Michael, I contacted Rick Epping at Hohner in Virginia, and below 
is part of his reply that I copied & pasted :                     
       "I asked him [Haeffner] a while back about the star and, as I recall, 
he could say nothing definite.  I do know that a 280 Chromonika  III that I 
bought new in Germany in 1965, which had a wood body and a brown, vinyl, 
alligator pouch, had the star on it.  And here at Hohner we used to have a 
few 270's in the green alligator pouches, tuned major/minor, that had the 
star on them. 
       While Hohner may have begun phasing out the star during the war years, 
it's also seems that some models may have continued to carry the star for 
quite some time thereafter.  Let me know if you find out anything more about 
it. Best regards, Rick 

       There still seems to be two issues here in need of resolution.  As 
Josh pointed out among others, this star may not signify a Jewish connection 
at all.  Secondly, it appears that a star imprint can be found on at least 
one harmonica model well after the end of World War II.  Nevertheless, the 
motivation behind removing the star in the late 1930s is of interest, as well 
as the implication above that it did remain on certain models, conceivably 
through the war years.    
       Richard Sleigh has mentioned that he has in his possession a book by 
Martin Haeffner, in German, dealing with the history of Hohner in Trossingen, 
Germany, and he has the idea to lend it to me.  He does not read German, and 
recommends that I might have a closer look with the thought that there might 
be more substantive information concerning these issues.  
       But if not, he has supplied me with a direct email address to Haeffner 
in Trossingen, and after looking over the book, I will be in more of a 
position to ask a question or two about this subject.  Perhaps there is 
documentation not included in the book; or since the book was written, Martin 
Haeffner may have more information to relay to us.
       Therefore patience to all the free-reed enthusiasts on the list who 
see this issue in terms of music organology.  And to the others who might be 
interested in the subject of "what did Hohner do during the war,"  perhaps 
very soon some further information may be gleaned and I will further relay it 
on to the list.  
  
         In the meantime, wherever the reeds may blow...

Michael Spudic