Richard,
Thanks for the mental support! Not primarily for my own part, but truly for the *cause* since I regard my energetic advocating in these matters as a "mission" simply hoping that greater conscience and knowledge about some of these ergonomic fundamentals may help players to get along with greater comfort ( and health!)but first of all finding paths to greater musical enjoyment, when not hindered by instrumental obstacles.

You also say: "but they also felt somewhat cumbersome to me".
- No surprise! For me too they did so to a great deal at first and still may do in some ways ! You may have to "believe" in a change of anything in life to overcome a)the threshold of the transition itself b) the strenous period of habituation to new circumstances.
Generally speaking the habituation phase often can be estimated to 6-12months if you have become used to something before whatever...
For my own part - although I *knew* from professional experience that the´"ídeas" were right it took about 10 years of awkward playing until taking the consequences and starting systematic trials.After some years of experimentation I had forgot playing all together and lost 90% of my earlier repertoire! No one else should do that, the concept is principally settled now - you can just go ahead and use it, but
the threshold and the habituation are till there, both of them...On top of that the looks...I know, although I don't share the deep feelings...that many players are devoted to the beauty of their instruments even though they are meant for listening to...:-)

Now Dick, (Miles)

You say: "but if Baritones are going to be used in a different way[eg continuous melody] than they were originally intended to be used,the player is going to be carrying more weight for more of the time.,this could possibly cause strain".

- With the common traditional handle/attachment and if not using any efficient support YES! We are talking englishes now..Mostly since the strain comes on the weak thumb extensor muscles or on the even weaker 4th fingers causing a crampful grip from thumb and pinkies in cooperation.The trad. english 'handle' is an ergonomic nightmare and the only excuse for Sir CW if being responsible for the disaster is that as far as known he never played the concertina himself! The anglo/duet concept is a lot more adequate generally speaking.CWs brother William Wheatstone understood the matters completely on the other hand as he describes in his patent application 1861.
So - with proper handles and an adequate method supporting the instrument there is no significant weight factor to hinder the use of baritones for anything.Comparing say 1200g for a light treble and 2500g for a fairly 'heavy' baritone is not of great importance for the "carrying" issue itself.Our arms are capable of maximal loads at least over 25kg together mostly and the general rule is that static load should not exceed ca 10-15% of the max power so for common performance the baritone should be just as safe as the treble.

You say: "when Nigel Pickles was playing baritone concertina in the NMECQ,he would have from time to time[a few bars rest],not normally long enough to go to the bar,but nevertheless enough to make a difference as regards strain ".

- Nigel, I am afraid, had to get along with the original outfit:-)
I have managed playing my 2500g baritone-treble energetically while standing, continuously, for about two hours...Problems are meant to be solved...but I can agree that baritones originally were not designed for performing solo standing but neither were trebles :-) !!BUT we have to keep in mind also that Charles Wheatstone prescribed that the instrument should be held with BOTH 3rd and 4th fingers on the plate and that makes enormous difference! The finger plate IS designed for that purpose, then the little finger comes in the right position as well.But just two fingers for fingering makes poor music mostly...

Goran