E. 1. Ivory flute probably
made in Germany in about 1770. The instrument, conical, is in D, descending to
D, it is made of four ivory pieces, a ring nut and three squared keys made of
golden silver. One of the keys is mounted on an ivory mounting and it is
original, while the other two, further (ca. 1820), are mounted on silver
mounting. A is at 438 Hz; total length 604mm (23.75”); head joint 230mm (9.05”)
with end pin; ending diameter 23mm (0.9”); upper body 145mm (5.7”); lower body
134mm (5.25”); foot 95mm (3.75”); ending diameter 15mm (0.6”); oval embouchure
hole 10x8mm (0.4”x0.3”).
E. 2. Side-blown flute made
of ivory, conical, in D descending to C. Four pieces branded: CAHUSAC / junior
/ LONDON. Cahusac jr. (Thomas) operated in London from 1781 to 1794 in 4 Great
Newport Street and, with his family, he was the most important flute make of
his time. The instrument presents 6 holes, 6 squared keys and 4 ring nuts made
of finely chiselled silver, original case. Dimensions: total length 667mm
(26.25”), head joint 230mm (9.05) with ending diameter 18mm (0.7”) and oval
hole 12x10mm (0.5” x 0.4”), upper body 159mm (6.25”) with ending diameter 14mm
(0.55”), lower body 121mm (4.75”) with ending diameter 12mm (0.45”), foot 157mm
(6.2”) with ending diameter 11mm (0.45”).
E. 3. Stick-flute,
in D and descending to D, probably a Coselschi make from Siena, made between
the end of 18th century and the first decade of 19th century. The instrument,
conical, is made of two pieces of boxwood carved in bamboo-cane shape, with
foot (not original) and tuning pin made of ebony and bronze. On the body there
are six holes and the hidden D-key. On the head joint, upon the embouchure
hole, there are two more holes for the handle strap. A at 432 Hz; total length
666mm (26.2”); head joint 311mm (12.25”) with end pin; head joint ending
diameter 16,4mm (0.65”); body 328mm (12.9”); foot 27mm (1.05”); foot ending
diameter 15,1mm (0.6”); almost circular embouchure hole 8,2 x 8,0 mm (0.32” x
0.31”).
E. 4. Flute in F made for
the famous flute player Nicholson who operated in London in during first
decades of 19th century. Conical, 3 pieces of boxwood, with the head joint
slightly bended, one brass key.
E. 5. French Eb soprano
flute, branded: Noblet / Jeune / Fils, Paris 1830 ca. conical, 5 branded
pieces, boxwood, ivory ring nuts, 5 brass keys.
E. 6. Eb soprano flute,
anonymous, 1850 ca. conical, 5 pieces of flamed boxwood with 6 brass keys and
horn ring nuts.
E. 7. Flute in D, conical,
German, made probably during the second half of 18th century by Grenser Carl
Augustin (Dresden, 1720-1807). The instrument is made of four pieces of flamed
boxwood, ivory ring nuts, and 4 brass squared keys.
E. 8. English flute with
conical bore, six holes and six keys, made by George Goulding between 1798 and
1803 in London. The instrument is made of five boxwood pieces with five ring
nuts and ivory tuning pin. All the pieces but the barrel (not original?) are branded
GOULDING & C°, the keys are made of silver and on one of them there is the
signature of the silversmith G. Lew. The A is 436 Hz but the embouchure hole,
conical, and the first hole has been reduced in their diameter with the
addition of an ivory ring. The total length is 665mm (26.2”).
E. 9. German flute, with
conical bore, with two spare bodies, branded C. G. HEROLDT, made of boxwood
with 5 horn ring nuts and a brass keys. The instrument is made of a head joint
measuring 224mm (8.8”), three upper bodies measuring respectively 147mm (5.8”),
156mm (6.15”), and 164 (6.45”), a 135mm (5.3”) lower body, and a 99mm (3.9”)
foot. Conrad Gustav Herold was a flute maker who operated in Klingenthal during
the first decades of 19th century. The flute is tuned at 440 Hz with the first
body, at 434 Hz with the second and at 428 Hz with the third. Original case
made of cardboard.
E. 10. English flute, conical,
made in around 1815 by William Henry Potter. The instrument, in D, descending
to C, is made of 5 ebony pieces with 5 ring nuts and the end pin made of ivory.
The embouchure is almost circular and there are 6 silver keys. The brand
impressed on the instrument is: POTTER / LONDON / PATENT.
E. 11. Flute in D, descending
to D, English, second half of 18th century, anonymous, conical, made of
boxwood, 4 pieces with ivory ring nuts, one squared brass key; it presents
signs of the addition of three keys, probably added in 19th century and later
removed.
E. 12. Side-blown Flute made
of rosewood, maybe French, first half of 19th century, four pieces with conical
bore, system between 1832 Böehm and Briccialdi. Ring nuts, 14 keys, and six
rings made of silver. Monogram A C on the instrument and on the case.
E. 13. English flute made of
rosewood with end pin, foot, four ring nuts, and keys made of brass. The
instrument is branded DOUGLAS & C° / LONDON: this maker operated in London
during the second decade of 20th century in 7 South St. EC. The flute, with
conical bore, descends at D; it presents 6 open holes and 6 brass keys.
E. 14. Side-blown flute made
of ebony, datable to the end of 19th century, with conical bore and inner metal
sleeve; it is made of four pieces, descending to B with a double D#. The
instrument presents six holes, fourteen keys (two for D# and Bb, the last missing)
and five nickel silver ring nuts. This instrument is anonymous but the
machinery recalls the instruments made by A. Rampone. The total length is 692mm
(27.25”) even if the barrel seems reduced.
E. 15. Italian flute in D,
conical, second half of 19th century, ebony. Five pieces with brand: circle
with stylised face / oval without caption; 5 keys and ring nuts made of
antimony.
E. 16. Side-blown flute, five
ebony pieces, B-extension, ring nuts and 11 keys made of nickel silver, conical
bore, regulation slide, screw end pin. Branded on every piece [reversed
five-pointed star] / BUFFET / A PARIS / [reversed five-pointed star]. Most presumably
made by Jean Louis Buffet, Paris, 1830-1844 (as also suggested by the label of
the time, attached to the instrument).
E. 17. Side-blown flute, five
ebony pieces, C-extension, ring nuts and ten keys made of silver, conical bore.
Branded on every pieces: lyre / BUFFET / Crampon e Cie. / A PARIS, monogram BC.
The instrument dates back to mid 19th century.
E. 18. Austrian flute made of
three pieces, made by Johann Baptist Ziegler and datable between 1858 and 1878,
branded: <double-headed eagle> / I. ZIEGLER / WIEN. / diapason. This
flute, descending to B, shows an extra key for Eb to be activated with the left
thumb. The instrument has conical bore, with thirteen keys hinged on metal
supports and six holes. The head joint is made of silvered brass with ivory lip
plate, while the body is made of rosewood.
E. 19. German flute, conical,
anonymous, probably made during the second half of 19th century. The
instrument, in C, descending to B, is made of four ebony pieces with 10 keys,
end pin and 4 ring nuts made of nickel silver.
E. 20. Conical flute,
anonymous, in C descending to D. The instrument is made of 4 ebony pieces with
6 keys and 5 ring nuts of silver. Made probably in Germany at the end of 19th
century. The flute belonged to flutist Antonio
Matacchieri (Altamura 12/6/1915, Taranto 2/9/2015) and was donated to the
museum by his son Bruno.
E. 21. German flute, type
Schwedler, in C descending to B, made between the end of 19th century and the
first decades of 20th century. The Schwedler flute takes its name from the
flute player Maximilian Schwedler (1853-1940) who designed it in 1885. These
instruments were made, at first, by Kruspe taking the name of Schwedler-Kruspe
and later, with some modifications, they took the name of reform flutes. This
instrument, in C descending to B, conical, is made of three ebony pieces and
the head joint is made of nickel silver with the embouchure of ebonite. It
presents 12 keys, two rings, and three ring nuts made of nickel silver.
E. 22. Flute in C#, conical,
Meyer system, branded Corona, made in Markneukirchen in Bohemia by Schuster
& Co. in around 1860, ivory head joint and 3 ebony pieces with 9 nickel
keys.
E. 23. German flutes with
ivory head joint, datable to the end of 19th century.
Flute, in C descending to B, it is made of three ebony pieces and an
ivory head joint with metal core with a total length of 730mm (28.75”). The
instrument presents 13 metal keys six holes with Meyer machinery.
Piccolo in C made of an ivory head joint and two ebony pieces with a
total length of 318mm (12.5”). The instrument, descending to D, presents the
machinery with 6 metal keys. The brand is BAUNGÄRTEL / MÜLHUASEN, this
woodwinds maker operated in Mülhuasen in Vogtland until 1903.
Piccolo in C# made of an ivory head joint and two ebony pieces with a
total length of 302mm (11.9”). The instrument, descending to D, presents the
machinery with 6 metal keys. The brand is BAUNGÄRTEL / MÜLHUASEN.
E. 24. German flute, conical,
made at the end of 19th century by Oscar Adler & Co. in Markneukirchen. The
instrument is made of 4 ebony pieces with 8 keys, 4 ring nuts, and an end pin
made of silvered metal. The brand is made of two ovals, in the first there is
the writing ADLER & Co. / MARKNEUKIRCHEN, in the second the writing LOUIS
de LEEUW / ZWOLLE.
E. 25. Flute in D, conical,
Czechoslovakian, type Reform machinery, first decades of 20th century. The
brand, in oval, has the writing: WYNEK KOHLERT / KRASLICE 1058 / REP. ČESKOSL.
The flute, in C descending to B, is made of 4 ebony pieces with ring nuts, 13 keys,
and 3 rings made of nickel-plated metal.
E. 26. Flute in C descending
to B, conical, German. Instrument made of 4 ebony pieces with 4 ring nuts and
12 keys made of nickel silver. The impressed brand has the caption WÜNNENBERG /
CÖLN.
E. 27. Flute, cylindrical,
machinery with Böehm system, Germany, second half of 19th century, branded:
[crown between two stars] / OTTO MONNING / LEIPZIG. / [lyre] / Orthoton /
[eight-pointed star]. The flute, in C descending to B, is made of three ebony
pieces and 16 keys with closed plugging made of silver. The embouchure is oval
and narrow.
E. 28. Flute in E, conical
bore. German instrument of the end of 19th century, branded D. ANSINGH & /
ZWOLLE, made of 4 ebony pieces, 9 keys and 4 ring nuts of nickel silver.
E. 29. Conical flute,
anonymous, probably made during the second half of 19th century in Italy, but
with Meyer machinery. The instrument, in C, that can be turned B-tuned
descending to Bb thanks to a bone spacer between the head joint and the barrel,
is made of four ebony pieces with 13 keys and 4 ring nuts of nickel silver.
E. 30. Side-blown flute,
Italian, first decade of 20th century. The brand presents: lyre (in oval) /
BATTISTA / CAZZANI & Co / MILANO / monogram BC. The flute, in his original
case, is made of four ebony pieces, there are 12 nickel keys and it is
descending to B.
E. 31. Concert flute, in C
descending to B, made by Egidio Rampone, son of Agostino, during the last years
of 19th century, brand: <diapason> / RAMPONE / MILANO / BREVETTATO /
monogram ER; four ebony pieces, ring nuts, borders of the holes and 15 keys made
of nickel silver, tuning pin made of metal and enamel, original case with the
brand A. Rampone.
E. 32. Concert flute, in C
with cylindrical bore descending to B, model "rudal-carte", n° of
order 342, Böehm system with closed plugging, 4 pieces of silvered metal
(stamped 900). Milan, third decade of 20th century, branded on the head joint:
in oval RAMPONE / DITTE RIUNITE / CAZZANI and on the barrel: five-pointed star,
BREVETTATO / A. RAMPONE / 4735 MILANO.
E. 33. Italian flute made
during the first quarter of 20th century, with the brand L. VANOTTI / MILANO /
BREVETTATO. Böehm machinery with closed plugging; made of silvered nickel
silver. Luigi Vanotti operated during the first quarter of 20th century
together with Abelardo Albisi, creator of albisiphon bass flute.
E. 34. Concert flute,
cylindrical, German, made of solid silver (stamped 900), Böehm system with
closed plugging, three pieces. The brand impressed on the barrel has the
writing SINFONIA / MAISTER / Paul Krebs / Erlbach / V. / (in oval) CONSERVATORU
BUCURESTI / 13151. The instrument, in his original case, is datable to mid 20th
century. Paul Krebs (1915-1989), apprentice of Gustav Reinhold Übel, and his
worker, founded his own firm in 1961, "PGH Sinfonia", in 1972 it
became "VEB Sinfonia", and since 1984 "VEB B&S".
E. 36. Cylindrical flute,
anonymous, Fernand Chapelain à La-Couture-Boussey model, France, datable to the
first decade of 20th century. The flute is made of nickel-plated brass, it is
made of two pieces, it has a simplified Böehm machinery, and shows five keys and
six holes, it is descending to D.
E. 37. Glass flute covered
with leather, accurate copy (for its dimensions and the distance between the
holes) of a wooden flute preserved in Accademia Filarmonica in Verona and
attributed to Rafi. The instrument might be considered in C with a low diapason
at 415 Hz. The instrument is made of a cylindrical glass tube with six holes
covered with black leather, with embouchure (circular) and ring nuts, at the
extremities, made of rosewood.
E. 38. Stick-piccolo
in A, English, first decades of 20th century. Knob made of solid ivory,
head joint and body of rosewood with five nickel silver keys, body of the staff
screwed to the foot of the instrument. Brand: Boosey & Hawkes Ltd. /
LONDON, brass end.
E. 39. Piccolo in D, with
conical bore, anonymous. 3 ebony pieces, four ring nuts and five keys of metal.
E. 40. Piccolo in C, Germany,
second half of 19th century, 3 ebony pieces, 6 keys and ring nuts made of
nickel.
E. 41. Piccolo in C, branded C. MAHILLON /
BRUXELLES. The instrument maker Victor Charles Mahillon, famous
for the reconstruction of the oboe d’amore, operated around 1870. Two ebony
pieces and five silver nickel keys.
E. 42. Piccolo in C, with
cylindrical bore, Böehm system with closed plugging. Milan, first half of 20th
century. On the head joint is reported the brand: RAMOPNE / Ditte Riunite /
CAZZANI, while on the body the brand is A. RAMPONE / MILANO. Two silvered metal
pieces with lip plate and hand rester with floral decoration made of burin. The
n° of order in 1926 catalogue is 512.
E. 43. English Flute made of
ebony, in B flat, anonymous, made during the second half of 19th century. The
instrument presents a cylindrical bore, in three pieces with fourteen metal
keys and two plates. The machinery is an evolution of the old mechanized system
(Pratten's Perfected) with the addition of keys and plates for the six open
holes of the Ziegler machinery, and Böehm machinery on the foot. The dimensions
are: head joint 238mm (9.35”), oval embouchure hole 15 x 11 mm (0.6” x 0.45”),
body 292mm (11.5”), foot 137mm (5.4”), inner diameter 18mm (0.7”), outer
diameter 26mm (1”).
E. 44. Italian flute, made
during the last decades of 19th century, conical bore with inner metal sleeve,
four ebony pieces. There are six holes, five metal ring nuts and fifteen keys
(two for D# and Bb) made of nickel silver. The instrument is branded on every
piece: royal coat of arms / (in oval) MAINO E ORSI / MILANO / monogram MO /
five-pointed star. The instrument has a double D#, identified with the number
52 in 1898 catalogue; it is descending to Bb and is 715mm (28.15”) long.
E. 45. Italian piccolo, in
three ebony pieces, conical bore with inner metal sleeve, made during the last
decades of 19th century. This instrument is anonymous but the machinery recalls
the instruments made by Maino & Orsi. The total length is 322mm (12.65”)
even if the barrel seems extended and the end pin is missing; there are six
holes, three ring nuts and seven keys made of nickel silver (the Bb key is
missing).
E. 46. English stick-flute,
anonymous, made during the second half of 19th century. The instrument is made
of an ebony flute in three pieces, head joint 196mm (7.7”), upper body 140mm
(5.5”), lower body 159mm (6.25”), conical bore, with five nickel silver keys
descending to D, and with a knob (40mm - 1.55”) and a tip (435mm - 17.1”)
giving the total length of 970mm (38.2”).
E. 47. Flute in C descending
to B, branded in every piece: lyre / BORGANI / ORFEO / MACERATA / brevettato /
monogram OB, dating back to 1920s. The instrument, 718mm (28.25”) long, is made
of four pieces of ebony with conical bore, six holes, twelve nickel silver
keys, and four ring nuts.
E. 48. Flute in D# descending
to C, branded: lyre / (in oval) BUFFET / A PARIS / (in oval) A. GARDELLI /
BARI / five-pointed star, made during
the first quarter of 20th century and commercialized in Bari by Alfredo
Gardelli who sold instruments (Buffet, Conn, Rampone) with his own brand. The
instrument, made of ebony, in three pieces, has conical bore, six holes, eight
keys and three metal ring nuts and it is 573mm (22.55”) long.
E. 49. Piccolo in C branded G.
PELITTI, Italian, made during the first quarter of 20th century, of ebony with
conical bore and metal sleeve in the head joint and in the barrel. The
instrument is made of three pieces with a total length 307mm (12.1”) with six
keys, six holes and three metal ring nuts.
E. 50. Flute in F descending
to D, branded: TITO BELATI / PERUGIA, dating back to the third decade of 20th
century. The instrument, with conical bore, is made of three ebony pieces with
six holes and six keys (only two are present) and four metal ring nuts (one
missing) and it is 476mm (18.75”) long.
E. 51. Piccolo in C, branded:
five-pointed star / P. Pupeschi / Firenze / five-pointed star, probably made in
1901. The instrument is made of ebony with conical bore and metal sleeve in the
head joint and in the barrel. The instrument is made of three pieces of the
total length of 321mm (12.65”) with six keys, six holes and four metal ring
nuts.
E. 52. Flute in C, Italian, branded: SISTEMA
BRICCIALDI / BREVETTATO / I. GERINI / FABBRICANTE / FIRENZE. Ippolito
Gerini made flutes with Briccialdi system until the third decade of 20th
century. This system was a synthesis of Böehm system and Ziegler system,
created by the famous flute player from Terni Briccialdi, in 1849, consisting
in a metal flute with cylindrical bore and a system with fifteen keys and one
ring. This instrument, datable to the second decade of 20th century is 657mm
(25.85”) long.
E. 53. Flute with conical
chamber, descendant to B, branded: lyre / CORTELLINI / A TORINO / five-pointed
star. The instrument, in its original case, is made of boxwood and has six
holes. The ten pewter keys with movable plate and the five ferrules are in
silver. The flute is in four pieces for a total length of mm. 709. Giacomo
Cortellini (Turin 1793 - 1860) was a fine maker of boxwood, especially
clarinets and flutes.
E. 54. English flute
descending to B, datable to the second decade of 19th century, with conical
bore, made of five boxwood pieces with five ring nuts and ivory end pin, eight
keys with pewter pins and with movable silver plate hinged on mountings made of
embossed wood. On every piece there is the brand GOULDING & Cº, while on
the barrel there is the brand: 6 / Prince of Wales badge / GOULDING / D’ALMAINE
/ POTTER & Cº / SOHO-SQUARE / LONDON. The embouchure hole is almost
circular 11 x 10 mm (0.43” x 0.39”), the diapason is at 436 Hz, the total
length is 660mm (26”).
E. 55. Flute made of boxwood
with conical bore, descending to B. The instrument was made by Johann Baptist
Junior Ziegler (Vienna 1824 – 1879) during the sixth decade of 19th century
and, on every piece, has the brand: double-headed eagle / I. ZIEGLER / WIEN.
The instrument has its original case, it is made of four pieces with six holes,
ring nuts, eleven keys (the last with movable plate) and two levers made of
nickel silver. The diapason is 440 Hz; it has an oval embouchure hole and is
712mm (28.05”) long.
E. 56. Flute made of ebony
with conical bore, descending to B. The instrument was made by Johann Baptist
Junior Ziegler (Vienna 1824 – 1879) during the third quarter of 19th century
and on every piece has the brand: double-headed eagle / I. ZIEGLER / WIEN. The instrument
has its original case, it is made of four pieces with six holes, ring nuts,
eleven keys (the last ones with movable plates) and a lever made of nickel
silver. The diapason is 440 Hz; the flute has the end tip and the foot
decorated with fine enamels, it has an oval embouchure hole and is 711mm (28”)
long.
E. 57. Flute descending to B,
in four ebony pieces with pale fiddleback, oval ivory lip plate, conical bore,
six holes, ten keys and five ring nuts made of nickel silver, branded: A.
MINISINI / TORINO / 2 brevetti. The instrument, with similar design of Buffet flutes,
is 712mm (28.05”) long. The diapason is 440 Hz.
E. 58. Flute in four ebony
pieces, conical bore, descending to C with eight keys and six holes, branded:
ABBATE / ALFONSO / B. The maker operated in Naples between 1840 and 1881 and he
was the inventor of many instruments. This instrument, datable to the third quarter
of 19th century, is 689mm (27.1”) long. The diapason is 440 Hz.
E. 59. Flute in E descending
to D, anonymous, datable to the end of 19th century, in four ebony pieces, with
conical bore, six keys and five metal ring nuts and six holes. The instrument
is 518mm (204”) long.
E. 60. Cylindrical flute, made
of silvered brass, Böehm machinery with closed plugging, bent E, not aligned G,
in three pieces, branded by burin on the barrel: CARLO ROSSINI / wrung leaf.
There is not information about this maker, so it is probably an Orsi flute
branded with Rossini’s name.
E. 61. Piccolo in C branded: C
/ 870, probably made during the first decades of 20th century. The instrument
is made of ebony with pale fiddleback, with conical bore and metal sleeve in
the head joint and in the barrel. The instrument is made of two pieces with the
total length of 308mm (12.1”), six keys, six holes and three metal ring nuts.
E. 62. Piccolo in C with
‘double chamber’, entirely of silvered metal and made of two tubes having the
outside reproducing a wooden flute and the inside having conical bore. The
instruments with double chamber were patented by Agostino Rampone (1843 - 1897)
in 1879 to go along with the necessity of Italian flute players who used to
play wooden flutes and were reluctant to play little metal flutes: in 1884 the
Giornale Militare Ufficiale published new rules for military bands to adopt
flutes and clarinets with double sides produced by Rampone. It is a solid
instrument, but heavy and difficult to be repaired, it has the Ziegler
machinery with six holes and seven keys, it is made of two pieces, 298mm
(11.75”) long, it is branded in oval: A. RAMPONE / coat of arms of Savoy /
MILANO / SISTEMA CON PRIVILEGIO / 519. The instrument is datable to around
1885.
E. 63. Piccolo in C branded:
lyre / F. ROTH / MILAN / flower with six petals. It is datable to the third
quarter of 19th century; it is made of ebony with conical bore and metal sleeve
in the head joint and in the barrel. The instrument is in three pieces with the
total length of 304mm (11.95”) with four ring nuts and six silvered keys, six
holes and a later ring nut.
E. 64. Flute made of ebony
with conical bore, descending to B. The instrument has the brand: lyre /
VINATIERI / A TORINO / sun. The instrument has its original case with the
monogram N G, it is made of ebony, in four pieces with six holes, ring nuts,
and ten keys (but the long F lever is missing and the hole is plugged) made of
silver. During the second Triennale Pubblica Esposizione in Turin, in 1832,
Fortunato Vinatieri, operating in Piazza Vittorio Emanuele next to 20, received
an honourable mention for the exhibition of an oboe and a flute (totally
identical to this one) made of ebony, with silver guerniture. The diapason is
438 Hz; it has an oval embouchure hole and is 706mm (27.8”) long.
E. 65. Flute with conical
bore, Ziegler system, made of ebony between 1902 and 1918, during those years
this brand was used: lyre / MAINO & ORSI / MILANO / monogram MO. This is a
flute in C descending to B with eleven keys, two levers, an additional key for
the left ring finger, to close better the third hole of the upper body (G), and
five holes. The instrument is in four pieces with the foot joined to lower
body, its length is 724mm (28.5”) and the keys are made of nickel silver.
E. 66. Flute with conical
bore, made of boxwood, descending to B. The instrument was made by Johann
Joseph Ziegler (operating in Vienna from 1821 to 1850) and on every piece has
the brand: double-headed eagle / I: ZIEGLER / WIEN. The instrument has its
original case, it is in four pieces, and it has six holes, metal ring nuts (one
missing), ten keys (the last three with movable plates) and a lever made of
nickel silver. The diapason is 438 Hz; it has an oval embouchure hole and is
704mm (27.7”) long.
E. 67. Flute in C, descending
to B, with conical bore, made of granadilla between 1902 and 1918, during those
years this brand was used: lyre / (in oval) BATTISTA / CAZZANI & Co /
MILANO / monogram BC. Giovan Battista Cazzani (1846 -1920) made musical instruments
in Milan starting from 1890, in 1912 affiliated with Rampone brothers (Egidio
married his daughter in 1926) giving birth to Cazzani & Co until 1920. This
is a flute with twelve keys and six holes. The instrument is made of four
pieces with the foot joined to lower body, it has the length of 718mm (28.25”),
the keys and the ring nuts, the last missing, are made of nickel silver.
E. 68. Zuffolo made of nickel silver branded on
the barrel: ZUFFOLO / A SCALA CROMATICA / BREVETTO / ABELARDO ALBISI / CORSO
CONCORDIA 4 / MILANO. On the oval plate on the pipes there
is the carving: ABELARDO ALBISI / BREVETTO / MILANO / CORSO CONCORDIA 4. The
instrument shows 13 pipes with closed end tuned from A5 to B6 and the opening
is activated by some keys on the right of the instrument imitating the
arrangement of piano keys. On the barrel a little headjoint is inserted, with
the side hole connected, through a plastic tube, to a metal mouthpiece. The
"zuffolo" was proposed to Dayton Miller by Glauco Meriggioli on
behalf of Albisi himself together with other instruments, in 1937. It is said
it was wanted by the composer Antonio Smareglia for the opera “Abisso”. It
seems it was never patented, even if several makers, among them Vanotti who
made instruments for Albisi, wrote this caption to give more importance to the
instruments. Another specimen, but in the two-octave version, made by Vanotti,
is at Orsi Factory collection, in Tradate.
E. 69. Grenadilla ebony
conical flute, descending to G2
(panaulon). These flutes were built from 1815 onwards by Trexler and Koch at 16
keys and then by Ziegler until 1835. In 1823 Bayr publishes in Vienna a method,
Practische Flöten-Schule, in which there is the fingering method for a flute
descending to G2 of Koch at right foot (some of these flutes had their foot
bent back). The instrument was built by Johann Joseph Ziegler (active in Vienna
from 1821 to 1850) around 1830 and bearing the mark: I: ZIEGLER / WIEN. The
instrument has its original case on which it is engraved: D. C. (probably the
monogram of the owner). It is in four pieces, it has six holes, four ring
guards (the last missing) and seventeen silver keys (the last seven with
floating cloak). The diapason is 438 Hz, has the oval hole and is long mm. 889
while the sole foot is long mm. 467.
E. 70. Giorgi flute, straight
flute with transverse mouthpiece, datable to 1894, hallmarked: JOSEPH WALLIS
& SON LTD / GIORGI PATENT / LONDON. It is in ebonite with two rings in
nickel-silver for a total length of mm. 528. The instrument is in two parts: the
head, which holds only the lip plate, which is engraved with: Wallis PATENT and
C. T. Giorgi and the body, consisting of a cylindrical vertical tube, on which
there are eleven holes, two of which are posterior. It was patented by Carlo
Tommaso Giorgi (1856-1953), Florentine inventor, musician and acoustic
physicist, in 1888 and produced first by Maino and Orsi and later by Joseph
Wallis & Son Ltd. in London. It was designed as a chromatic instrument,
with the eleven holes positioned to produce the twelve semitones of the octave.
To close this number of holes it is necessary to use the thumbs, all the tips
of the fingers and the left index side which makes the fingering very complex.
The instrument is held vertically rather than horizontally and, to simplify its
execution, were subsequently added by one to four keys.
E. 71. Double head flute,
vertical and horizontal, and double barrel for intonation in C and D-flat. The
vertical head, with the U-shaped curve of 180 degrees followed by the
right-angle curve (patent 49789), ends in a tenon that fits into a cylindrical
metal barrel and then onto the upper body of the flute. Patented and built in
Cologne in 1889 by Everhard Anton Wünnenberg based on a design by Peter Joseph
Tonger, it is marked on the curve of the head: WÜNNENBERG'S D.R.P. No. 49789 /
P. J. TONGER / KÖLN A / RHEIN. Wünnenberg was born in Cologne in 1844,
succeeded his father in managing the factory and obtained various patents for
flute titles and mechanics. He died in Cologne on March 8, 1938. Peter Joseph
Tonger was born in Cologne in 1845, he was a builder, musician and editor. From
1890 he built his own vertical flutes with Wünnenberg mechanics. He died in
Cologne on March 25, 1917. The instrument, descending from the B, presents
fifteen metal keys and a ring. The body, in ebony, is in two pieces, the horizontal
head is in bone with its ebony barrels while the vertical one is metal with a
bone sleeve for the insufflation hole and the two metal barrels. Total length
mm. 712 with barrel in D-flat while mm. 730 with C barrel, conical bore and
closed-hole mechanics patented by Wünnenberg himself.
E. 72. Flute in C, descending
to D, branded: musical lyre / (in oval) BUFFET / Crampon & C.ie / A PARIS /
monogram BC / BREVETÉS / S.G.D.G. the instrument is in five ebony pieces, with
conical bore, six holes and six metal keys. The total length is mm. 603 (the
intonation cap is missing). Jean Louis Buffet, a manufacturer of musical
instruments as early as 1840, in 1871, together with Leon Crampon, formed the
Buffet & Crampon. The instrument has its original case on which the words
BUFFET CRAMPON & C.ie and the initials of the owner B. de AL. are printed
in gold letters and can be dated to the seventh decade of the nineteenth
century.
E. 73. Flute in C descending
to B, marked: C. Ziegler / Wien. Christoph Ziegler was active in Vienna in the
Alservorstadt district since 1827. The flute can be dated to the middle of the
19th century, it is in ebony with horn reinforcements at the barrel and at the
joint between the bodies. Eleven keys, two of which are missing, the last three
of which are flat-plate sliding rolls between C flat - C. Strange cap that
completely closes the hole of the foot with a wooden wedge screwed to a cap.
Four pieces for a total length mm. 713 (178 + 64 + 174+ 297) to which the final
cap of mm. 15 must be added.
E. 74. Cylindrical flute in C,
built in Brussels, Belgium, before 1878 and marked on the body: 5-pointed star
/ C. MAHILLON & CỌ / LONDON / 5-pointed star. The head is marked: crown /
RUDAL / CARTE & Co / LONDON. The header is in ebony while the body is in
rosewood. The mechanics, in nickel silver, is of the Böehm hybrid type,
consisting of sixteen keys, G in line and long key of the C# to the left little
finger. In 1836 the company was founded by Charles Borromee Mahillon
(1813-1887) in Brussels who, in 1844, opened a store in London at 42 Leicester
Square. In 1865 he was joined by his son Victor Charles Mahillon (1841-1924)
who later founded the Museum of Musical Instruments in Brussels. The British
company Rudall Carte was among the most famous and appreciated in the music
industry of the 19th and 20th century. Founded as Rudall & Rose in 1822,
Richard Carte (father of Richard D'Oyly Carte) became part of the company
around 1850, changing its name to Rudall, Rose, Carte & Co and becoming
Rudall, Carte and Company in 1874. He produced high quality flutes in a wide
range of materials: mainly coconut wood, ebony, but also silver, ebonite and
gold. The total length is mm. 660 of which 234 of head, 296 of body and 130 of
foot: the diameter at the foot is mm. 26.
E. 75. Flute, four pieces in
ebony, extension to B, ferrules and twelve keys in nickel silver, conical
camber, adjusting slide, screw cap, hallmarked: musical lyre / (in oval) BUFFET
/ A PARIS / (in oval) A. GARDELLI / BARI / 5-pointed star, made in the last
quarter of the 19th century and marketed in Bari by Alfredo Gardelli who sold
instruments (Buffet, Conn, Rampone) under his own trademark. The instrument is
716 mm long overall; head 163, barrel 74, upper piece 181, lower piece 298. The
flute belonged to the flutist Antonio Matacchieri (Altamura 12/6/1915, Taranto
2/9/2015) and was donated to the museum by his son Bruno.
E. 76. Piccolo in C, in
silver-plated brass, cylindrical chamber, "finto Böehm" system with
closed plug marked A. RAMPONE / MILANO / -5033-. The instrument has thirteen
keys and can be dated to the last quarter of the 19th century. Egidio Forni and
Francesco Rampone, both originally from Quarna Sotto, moved to Milan, where
they learned to use lathes and make wind instruments (mainly woodwinds) in a
workshop. In 1847, Egidio Forni and Francesco Rampone thus became the sole
owners of the business that had been established in 1818, as it appears in the
old catalogues and price lists of the Agostino Rampone company. In the years to
come, Teodoro Rampone and later his son Agostino Rampone (1843-1897; active in
Milan from 1871) succeeded one another in running the company. The piccolo
belonged to flautist Antonio Matacchieri (Altamura 12/6/1915, Taranto 2/9/2015)
and was donated to the museum by his son Bruno.
E. 77. Rosewood flute
descending to B, old system, built by Maldura in Milan in the last quarter of
the 19th century. The flute has six holes, eleven keys and five nickel silver
ferrules. It is in four pieces for a total length of mm. 698. Alessandro
Maldura, whose mother M. Teresa was the sister of the famous builder Giuseppe
Pelitti, was born in 1830 and began his business in Milan in 1850 and, in 1858,
took over the business of Pietro Piana. He specialized in the construction of
"clarines, horns, piccolos, thirds, flutes, oboes, English horns and
bassoons" and for this he obtained numerous awards. He dies in 1914.
E. 78. Boxwood flute, conical
chamber, hallmarked: three five-pointed stars / M E. The instrument is
descended from the D. Dated mid-19th century, consisting of five boxwood pieces
with ferrules and six metal keys with a total length of 625 mm; head 165,
barrel 70, upper body 178, lower body 124, foot 88.
E. 79. Double-wall piccolo,
pitched in C, descending to D, dating around 1885. It is a sturdy but heavy
instrument that is difficult to repair, featuring Ziegler mechanics with six
holes and seven keys. It is in two pieces, 298 mm long, and is stamped in an
oval: A. RAMPONE / Savoy coat of arms / MILAN / SYSTEM WITH PRIVILEGE.
E. 80. Ebony piccolo pitched
in D-flat, with six keys, built in the first quarter of the 20th century and
sold in Bari by Alfredo Gardelli, who marketed instruments (Buffet, Conn,
Rampone) under his own brand. Engraved on the body are: five-pointed star / BUFFET / A PARIS / A.
GARDELLI / BARI / five-pointed star. The instrument, made of ebony and
consisting of three parts, is 315 mm long, has a conical bore, six holes, six
nickel silver keys, and three metal rings. A brass tie is present to repair a
crack in the barrel.
E. 81. Flute in C, made in the
second quarter of the 19th century by Jean Louis Buffet. The instrument
features a metal head and a cylindrical ebony body, with a Boehm system
mechanism, featuring closed holes and extending down to low C. The marking
reads: Greek lyre / (in an oval) BUFFETT / A / PARIS / five-pointed star. The
instrument is in two pieces, with a total length of 667 mm, and the body
measuring 478 mm. Jean Louis Buffet, also known as Jean Louis Buffet-Crampon,
was born on July 18, 1813, in La Couture, the son of Denis Buffet-Auger. By
around 1830, he had begun working at the musical instrument manufacturing
company founded by his father, and upon his father’s death in 1841, he took
over the business. Buffet married Zoë Crampon in 1836, and by 1844, his company
was known as Buffet Crampon. He died in Paris on April 17, 1865.
E. 82. Flute in C, made in
London in the first decade of the 19th century, marked on the head and foot:
KNEVETT / LONDON. Made of stained boxwood in four parts, it is missing three
rings and the head joint cap. The total length is 610 mm: 238 mm for the head,
152 mm for the upper body, 133 mm for the lower body, and 87 mm for the foot.
The instrument has six front holes and one square silver key. Knevett was a
partner in Goulding, Knevett & Co; he operated in the company's Irish
branch located on Westmoreland Street in Dublin from 1803 to 1806. Knevett
retired from the firm in 1806.
E. 83. C-sharp flute,
anonymous, most likely made by Goulding, Knevett & Co, London, between 1806
and 1809. Boxwood stained in four parts. Two rings and the head cap are
missing. The overall length is 616 mm, 237 head, 153 upper body, 128 lower
body, 98 foot. The instrument has six front holes plus a broken square silver
key.
F. 9. Side-blown flute in G
(Schwegel), Austria, mid 20th century, made in Carinthia by Hausa Schmidl
(1905-1999), the brand is carved on the head joint: HAUSA SCHMIDL / KÄRNTEN /
G. Two pieces of blackthorn wood with brass ring, conical bore with 7 holes,
the fifth a double hole and the seventh for the little finger (G#). Length
460mm (18.1”) and circular embouchure.
F. 10. Piffaro from Germany or
Netherlands, 18th century, made of boxwood. The instrument is branded “S” with
a crown on the top, it has six holes and it was probably one of those flutes
played accompanied with a drum.
F. 11. Piffaro from Alps,
anonymous, the second half of 18th century. The flute, made of boxwood, finely
turned both on the head joint and on the foot, is 326mm (12.85”) long and shows
6 front holes and a circular embouchure.
F. 12. English piffaro,
anonymous, first half of 19th century. The instrument, in two pieces, is made
of rosewood with two brass ring nuts on the head and on the foot; it is 353mm
(13.9”) long and shows a circular embouchure and six front holes.
F. 13. Piffero made of ebony
in A, used in military bands, England, 2 pieces, branded: Improved / London /
B, 6 holes and a nickel silver key.
F. 14. Flauto traversino with
6 front holes and a brass key, having a recorder-like embouchure. Alps,
beginning of 19th century, 2 pieces of brown ebony.
F. 15. Fipple flute, early
19th century, made of rosewood with six front holes, popular during the last
century in Flanders, Netherlands, and Northern France. Fingering like Irish
whistle.
F. 16. Recorder, France 1890,
granadilla and ebony, 7 single holes + 1 back hole, thin shape, length 325mm
(12.8”). Brand: Couesnon / & CIE / a Paris.
F. 17. Sopilka, recorder made
in Ukraine during the first decades of 20th century, by an anonymous maker, in
three pieces of dark ebonite with 8 front holes and two back holes. Conical
bore and thin shape, 3 brass ring nuts, length 327mm (12.85”). This instrument
is the most common Ukrainian folk flute and has a number of holes from six to
ten.
F. 18. Recorder with keys,
made by Lucien (Garenne-sur-eure, 1930), last descendant of Lot family, famous
dynasty of instrument makers. Brand: LN LOT / France / Brevetè S.G.D.G. Two
pieces of dark wood with bone beak, 6 keys of silver and 6 + 1 holes. Thin shape,
332mm (13.05”).
F. 19. Alto recorder, German,
anonymous. The peculiar head joint, with slander swellings, and the cylindrical
foot allowed to the greatest German flute expert of 19th century, Peter
Tailheimer, to attribute it to Franz Otto (Markneukirchen 1860 – 1905). The instrument
is 474mm (194 + 187 + 93 mm) (18.65” = 7.65” + 7.35” + 3.65”) long. It has
inverted conical bore, is in F (A 453 Hz) and it is made of rosewood with
embouchure and foot covered with ebony, 1 back hole and 7 front holes, the last
two are double holes.
F. 20. Tenor recorder, German,
in C, made by Thomas von Mollenhauer for the fine series “Solist”, during the
first half of 20th century. The instrument, of rosewood, is made of three
pieces and it is long 660mm (26”). It presents
a German fingering with seven front holes, the penultimate a double hole, one
back hole and it has a brass key for C.
F. 21. Bassett recorder,
German, made by Thomas von Mollenhauer for the fine series “Solist”, during the
first half of 20th century. The instrument, of rosewood, is made of three
pieces and it is 981mm (38.6”) long. It presents the German fingering with
eight front holes (two for F-F# and the penultimate a double hole) and a back
hole. The ring nut on the foot, two keys (the F-key has two holes, one is
open), and the bocal are made of brass while the embouchure is made of wood.
F. 22. Recorders, three with
side embouchure and one with beak. North-American make, end of 19th century.
These instruments, made of stained wood and brass ring nuts, shows six front
holes without tone hole. The end-blown flute is 316mm (12.45”) long with fipple-foot
length of 286mm (11.25”) and is in Bb. The side-blown flutes present a fine
upper turning and a little wooden cylinder that allows the air blow. Two of
them are made of two pieces, and are 385mm (15.15”) and 384mm (15.1”) long, the
fipple-foot lengths are 276mm (10.85”) and 273mm (10.75”) and they are
respectively in B and in C. The last is made of a single piece with the length
of 337mm (13.25”) with fipple-foot length 242mm (9.5”) and it is in D.
F. 37. Side-blown flute in C
(Schwegel), mid 20th century, branded: 440 on the embouchure hole, than under:
HAUSA SCHMIDL / KÄRNTEN / GREIFENBURG ÖSTERR. / d. Single piece of blackthorn
wood (?), conical bore with 6 holes, the fifth and the sixth are double. Length
315mm (12.4”), circular embouchure and spherical turning on the head and on the
foot. Hausa Schmidl, (1905-1999), was the most famous Austrian folk flute
maker.
F. 38. Fife, English, in B,
branded: fleur-de-lis / D'ALMAINE & Co / LATE / GOULDING & D'ALMAINE /
104 / NEW BOND STREET / LONDON / G. The instrument has been made between 1858
and 1866; it is made of wood and is 369mm (14.5”) long. It shows two brass ring
nuts at the ends, a barely oval embouchure hole, and six front holes without
tone hole. It was probably used for military music.
F. 44. English piffero in Ab,
for military band, datable to the beginning of 20th century. The instrument is
branded: MADE FOR / BOOSEY & HAWKES / LONDON and it is made of two pieces
of ebony with total length of 395mm (15.55”). It shows six front holes, one
key, and three brass ring nuts.
F. 45. Small anonymous flute,
stained wood, six front holes and with a small slit at the side of the lip of
the box. The profile wave (Wellenprofil) specifically recalls the tools of the
school of Nuremberg late 600 / early 700. The instrument is high mm. 118.
F. 46. Wood Cornett covered in
red morocco leather with signs of repairs to the leather cover. The tool
presents the mouthpiece (internal) and the final, zoomorphic head, in dark horn
and an opening on the convex side. The section is rectangular with rounded
corners. There are two metal brackets for the suspension strap (missing) and is
long mm. 380. Italian and probably dating from the second half of the '700 and
early 800.
F. 47. Crumhorn soprano in C,
stained wood (maple?) with seven holes plus two front holes resonance on the
bell and a brass ring. It is visible a repair shield-shaped in front of the
body under the ring and on the first hole (probably been lost or removed a coat
of arms). The Crumhorn is a renaissance instrument, whit cylindrical bore,
double-reed encapsulated, whose name comes from the German Krummhörn (curved
horn) for the umbrella-handle characteristic shape. These tools were very
popular in France, Germany and the Netherlands, they had a very limited
extension, just over one octave, so were played in consort from soprano to bass
to broaden the extension. This is an ancient reconstruction dating from the
late nineteenth and early twentieth century, attributable to instrument makers
of the French area (Auguste Tolbecque, Victor-Charles Mahillon) and is long mm.
370.
F. 48. Soprano Recorder,
anonymous, in two parts, in pear stained wood, built in the manner of Thomas
Stanesby Jr. (1692-1754), with signs of wear and a crown-shaped mark on the
front of the block . The instrument was restored by master builder and restorer
Friedrich von Huene, in Boston, between 1970 and 1971, as reported in the
attached manuscript paper, so it is difficult to date it accurately. It could
be an instrument dating from the eighteenth century or copy later built. The
instrument has a back hole and, in front, seven holes of which the last two
doubles and is long mm. 317.
G. 2. Chromatic harp without
pedals, with on every side of the neck (entirely made of golden metal) the
caption Pleyel, Lyon & C.ie Paris / 789 / Harpe. syste G.ve Lyon (brevetè).
The Pleyel chromatic harp was born for the necessity to have all the tonal possibilities
of a double action pedal harp in an instrument without pedals. Gustave Lyon,
director of Pleyel manufacturer, made this harp, recalled by an 1843 old
project by Jean-Hanry Pape, with order of Alphonse Hasselmans, to solve the
problems during virtuous passages while using pedal harps. So he produced a
harp known as chromatic, that thanks to the idea of using a double row of
strings it reaches the wanted purpose. In this harp, the strings, diatonically
tuned, are attached on the right side (the back) of the neck (the harmonic
curve that connect the soundbox with the column), while on the left side (the
front) the chromatic strings are attached; crossing each others, for
convenience, close to the halfway, the two rows of strings ends at the opposite
sides of the soundboard. This instrument presents 78 strings (from D0 to G6) in
two courses: 46 diatonic strings in C major attached on the right of the neck
and on the left side of the soundboard, and 32 chromatic strings from the left
side of the neck to the right side of the soundboard. The harp, made during the
last decade of 19th century, has to bear a huge tension (1200 Kg.), for this
reason it presents a metal column veneered with ash root wood. The soundbox,
also veneered with ash wood, is very wide, made of maple, with numerous
supports made of solid wood and metal, and on the back it shows 6 openings, 4
vertically and the last two horizontally separated by a metal decoration. On
the soundbox there are the two strips (and the inner counter-strips) made of
beechwood with ivory pins. On the head there are metal decorations in the shape
of feminine figures. The foot shows four feet made of golden metal, the front
feet are in the shape of lion’s paws (containing wooden wheels) and the back
feet in the shape of coils. Notwithstanding in Conservatories of Paris and
Brussels some chromatic harp schools were established, the Pleyel chromatic
harp was never very popular. This harp presented other drawbacks (difficulty
for glissandos) in respect to pedal harp, so during the first decade of 20th
century there was a heated debate between supporters of Pleyel chromatic harp
and supporters of Erard diatonic harp so much that Debussy (Danses sacre et
profane 1904) and Ravel (Introduction et allegro 1905) wrote pieces dedicated
to the two different instruments.
G. 15. French harp; on the neck
there is the engraving: DOMÉNY / Facteur de Harpes et de Pianos. Rue du Faub.ᵍ
S.ᵗ Martin127 N° 257 / 1.ERE MEDAILLE d’Argent aux Exposition de l’Industrie de
1827.1834.1839.1844 / MEDAILLE D’OR 1849. MEDAILLE 1.ERE CLASSE EXPOSITION
UNIVERSELLE / da 1855. The instrument is datable to 1857 and made by Louis
Joseph Domeny (operating from 1814 to 1861) who refined the system with forks
reducing the length of the string; it has 44 with fork machinery and 8
double-action pedals. As regards the structure, the sound box has a
semicircular section and shows some support chains inside; the neck is made of
stratified wood and it is more reinforced thanks to brass plates that contain
the double-action machinery. The semicircular soundbox shows on the back 5
holes enclosed in a trapezoidal frame. As for the decoration, this instrument
belongs to the neo-archaeological type; the capital has caryatids holding the
crown, the base of the column presents a decoration with palm leaves and, on
the base, two angels, and the pedestal is supported by four lion’s paws,
everything made of golden wood.
H. 11. French desk piano for
ladies, datable to the third decade of 19th century in Charles X style, made of
rosewood lacquered yellow with Indian ink floral drawings. The instrument,
closed, measures 340 x 540 x 760 mm (13.4” x 21.25” x 29.9”), inside there is a
mercury mirror and a lot of compartments for sewing and writing tools. The
little extractable keyboard has 22 ivory keys and 15 ebony keys (from F3 to
F6), there are metal strings: single strings for the 18 lower notes, while
double strings for the other 19.
H. 15. English piano-cabinet,
entirely veneered with maple with golden plaster decorations, it is signed:
PATENT REPEATER / COLLARD & COLLARD / LATE / CLEMENTI, COLLARD &
COLLARD / LONDON. This type of piano, in fact resembling a cabinet, was made
for the first time in England during the first half of 19th century. The pins
and the wrest plank are on the top, while the strings start near the floor.
This arrangement was invented in the same time by the English John Isaac
Hawkins (1772-1855) and by the Viennese Matthias Müller (1770 ca.-1844) and has
a bayonet English sticker action machinery. The illustrious Collard &
Collard Piano Company was initially founded as "Longman &
Broderip" in 1767 that, in addiction to make pianos, it was a publishing
house that published Muzio Clementi’s compositions. He took over the
manufacturer giving the brand Clementi & Company; in 1815, he retired and
the manufacturer was managed by Collard brothers. At Clementi’s death, in 1832,
the manufacturer took the name Collard & Collard late Clementi. The
keyboard, made of ivory and ebony, has six octaves and five notes (C1 – G7).
The instrument is entirely made of sycamore maple with decorations made of
plaster gilt with bronzing powder, it presents two octagonal legs tapered
downwards, has two wooden pedals and, upon the keyboard, the accommodation for
the strings decorated with two columns with capitals and a cymatium. Inside
there is the serial number 936 that makes it to date back to 1820 and a title
block with this caption: DIRECTION / 1. - The action is taken out in the
usually manner, after first removing the dampers; but care must be taken to lay
the action-frame down on its side, to prevent any injury to damper-stickers. /
2. - Three screws will be observed in each upright rail of the action-frame by
removing till the check-rail and damper-stickers, may at once he taken away and
any hammer set to the stungs with the greatest eake. / 3. - To regulate the
jacks, take a piece of strong wire (band to a right angle at one end) and pass
it between the damper-sticker into the eye of the .... / 4. - the ...ller of
this invention will be readily discovered by the one of an intelligent
mechanic, as well as by the finger of an a complished performer.
H. 19. Organ pipes coming from
an Italian instrument probably made in 18th century. They are a group of
twenty-nine little pipes made of lead and tin that emit the following notes: A,
A#(broken), C, C, C#, C#, C#, D, D#, D#, F, F, F#, G, C#, A#, A#, F, C#, D, D#,
E, F#, G, G#, G#, A#, C, C#. The dimensions are from 220mm (8.65”) to 320mm
(12.6”).
J. 3. French oboe made of
boxwood in three pieces, made by Thibouville-Cabart in 1870 ca. The brand on
every piece is: galleon / Thibouville / Cabart / à Paris / b # ≠.
The instrument has three ring nuts and ten keys made of brass, but the C key
and the rod for B are missing; the bell is cracked in some points.
J. 6. Cor anglais in F,
straight, made in around 1920. Three pieces made of Indian walnut, branded
<coat of arms of Savoy > / PROF. ROMEO ORSI MILAN (in oval) / TRADE
<two bears> MARK / ESPORT. MONDIAL, and on the back of the upper piece
the number 50680. The instrument, in F2 starting from E2, presents a Böehm
machinery with 19 keys and a ring made of silver alloy. The total length is
873mm (34.35”), staple 73mm (2.85”), upper body 331mm (13.05”), lower body
319mm (12.55”), bell 150mm (5.9”).
J. 7. Cor anglais in F,
straight shape, German, made in 1960s, Uebel system with a single tone hole and
flared bell like the bells of clarinets. The instrument, in grenadilla, is
branded in oval: original / G.Rudolf / Uebel, under the oval there is the
caption: Wohlhausen / (Vogtland). The instrument is made of three pieces (upper
body, lower body, and bell) with total length of 865mm (34.05”) without staple,
and it presents 24 keys.
J. 8. English bassoon,
second half of 19th century, ebony, German (Heckel) machinery, branded “Boosey
& co. / makers / 295 Regent Street / London / 1588”, 16 nickel keys and 7
holes.
J. 16. E-flat piccolo
clarinet, French, five boxwood pieces, six ivory ring nuts, nine keys and
thumbrest made of brass. Mouthpiece made of ebony. All the pieces are branded:
lyre surrounded by rays / B T, while on the bell there is the brand: lyre
surrounded by rays / B T / BUTHOD & THIBOUVILLE / BREVETES S.G.D.G. / A
PARIS. These makers operated in Paris from 1857 to 1867.
J. 17. E-flat piccolo clarinet
branded G. KRYWALSKI / TESCHEN, in four boxwood pieces and mouthpiece made of
ebony. The instrument was made during the second half of 19th century by Georg
Krywalski who operated in Teschen till 1897. The instrument has A at 440 Hz; it
has seven holes while the four ring nuts, the eight keys, and the reed ligature
are made of brass. The thumbrest and the C-hole are obtained from the embossed
wood body.
J. 18. C-sharp piccolo
clarinet, anonymous, second half of 19th century, made in Germany or Bohemia,
four yellow boxwood pieces and mouthpiece made of ebony. Seven keys and four
ring nuts made of brass with the hole for the right little finger in relief.
Total length 488mm (19.21”) without the mouthpiece.
J. 19. Clarinet in A, France,
made between 1848 and 1852, “Martin Fes à Paris” make. Five pieces made of
boxwood and mouthpiece made of ebony, ivory ring nuts, reed ligature with wire,
8 brass keys.
J. 20. Clarinet in A made by
Johann Joseph Ziegler (Vienna 1821 – 1850), on every piece there is the brand:
double-headed eagle / I:ZIEGLER / WIEN. / A. Ebony mouthpiece and 4 pieces made
of boxwood with thumbrest in relief, 5 ivory ring nuts, 13 keys made of brass
hinged on metal mountings. Mouthpiece with table covered with silver alloy and
metal lining inside the barrel. Dimensions: mouthpiece 71mm (2.8”), barrel 74mm
(2.9”), upper piece 200mm (7.85”), lower piece 237mm (9.35), bell 100mm
(3.95”).
J. 21. Clarinet in C, English.
The instrument is made of five boxwood pieces and the mouthpiece, with six ring
nuts of ivory (two restored) and five squared keys made of brass. The brand, on
every piece, has the caption ASTOR & Co. / LONDON / [unicorn]. This
manufacturer operated in 79 Cornhill Street and 27 Tottenham Street, Fitzroy
Square from 1798 to 1800, and it was made by the brothers George and John
Astor.
J. 22. Clarinet in C, French,
made of boxwood with five ivory ring nuts and 13 keys made of brass. The
instrument is made of four pieces, all branded NOBLET / JEUNE / FILS, brand
used by Noblet family during the first decades of 19th century. The mouthpiece,
made of rosewood in around 1845, is branded J. LEUKHARDT / BOSTON (this
instrument maker, born in Russia in 1819 and moved to Boston, after the 1847
associated with Schauffler creating the famous manufacturer Schauffler &
Leukhardt).
J. 23. Bassett horn, alto
clarinet in F, mouthpiece made of ebony and 4 pieces made of boxwood with
thumbrest in relief, ivory ring nuts, 13 brass keys hinged on wooden mountings
in relief. The barrel is bent. The instrument was made by Johann Joseph Ziegler
(operating in Vienna from 1821 to 1850) and on every piece there is the brand:
double-headed eagle / I:ZIEGLER / WIEN / F.
J. 39. Clarinet in Bb,
English, datable between 1798 and 1803, made of five boxwood pieces and the
ebony mouthpiece, six ivory ring nuts and six brass keys. The instrument is
branded on every piece: GOULDING & Cº, while on the bell there is also the
symbol of Prince of Wales and the writing LONDON. The total length is 529mm
(20.8”) without the mouthpiece.
J. 40. Tenor cornett made by
the Berliner Günter Körber (1922-1990), whose instruments are kept in museums
and collections. The instrument, with lightly conical shape, made of rosewood,
is 532mm (20.95”) long without the mouthpiece; it presents seven front holes
and two metal ring nuts, the lower one with fish and birds incisions. The
mouthpiece is made of ivory.
J. 53. English bassoon, in
four rosewood pieces, six keys and three ring nuts made of brass, and original
bocal. There is the brand: unicorn / C. GEROCK / 79 / CORNHILL / LONDON.
Christopher Gerock, operating in London from 1804 to 1837, had his offices in
Cornhill between 1808 and 1823; he was a fine maker of flutes, clarinets, but
mainly bassoons. The instrument has length of 1240mm (48.8”); the diameter of
the bell is 50mm (1.95”), total length of the wing 530mm (20.85”).
J. 56. Clarinet in Bb,
Italian, on every piece it has the brand: flower / VINATIERI / A TORINO / sun /
SI b, datable to the third decade of 19th century. Vinatieri Fortunato
[1807-1859], Guglielmo’s son, operated from 1829 to 1859, but from 1838
associated with Vincenzo Castellazzo with the brand Vinatieri and Castlas,
while from 1858 appeared together with his son Camillo as Vinatieri &
figlio. This instrument is made of five boxwood pieces with five horn ring nuts
(one missing) and the mouthpiece made of ebony. The upper body has three holes
and four rounded and flat keys made of brass, two of them hinged on brass
joints and two directly on relief mouldings of the wood. The central body has
three holes and a key on a brass joint while the lower body has a hole and
three keys directly hinged on the wood. It has cylindrical bore and, without
mouthpiece, is 573mm (22.55”) long.
J. 57. Straight cor anglais in
F, branded: lyre / (in oval) BUFFET / Crampon & C. / A PARIS / monogram BC
/ BREVETE / S.G.D.G. serial number 472 that dates it back to 1886. Jean Louis
Buffet was already an instrument maker since 1840: in 1871, together with Leon
Crampon, founded the Buffet & Crampon. The instrument, in its original
case, 793mm (31.2”) long, is in three pieces made of Honduras rosewood:
staples, 13 keys, and three rings are made of silver nickel.
J. 78. Contrabassoon of “Premiata Fabbrica
Italiana Istrumenti Musicali Edoardo Sioli Milano” lyre / E. SIOLI / MILANO /
five-pointed star. The instrument is datable to the third decade of
20th century and it was played in RAI Orchestra in Milan by Prof. Freschi
Mario. The instrument is made of red maple, it is descending to C so it has the
wooden bell upwards, moreover it presents twenty metal keys, three curves, and
a long bocal.
J. 80. Italian bassoon
branded: E. SIOLI / MILANO / five-petaled flower, datable to second decade of
20th century. The instrument is made of varnished maple; it shows French
machinery with five holes and twenty one metal keys some of which are blocked
by cork pieces. The dimensions are: 433mm (17.05”) for the boot, 529mm (20.8”)
for the longest piece, 469mm (18.45”) for the wing, and 362mm (14.25”) for the
bell. Edoardo Sioli was the most important Italian bassoon and contrabassoon
make during the early 20th century.
J. 92. Clarinet in A, built in
the third quarter of the 18th century. in five parts in boxwood plus the
mouthpiece. It has five bone ferrules, five square brass keys and eight holes,
seven of which are front and one back. Marked on the barrel: 3 / BIGLIONI / IN
ROMA. On the upper and middle bodies: I / BIGLIONI / IN ROMA / A. on the lower
body and on the bell there is the inscription: 5-pointed star / BIGLIONI / IN
ROMA / I. The dimensions are: barrel mm. 69, upper body mm. 225, medium body
mm. 98, lower body mm. 137 and bell mm. 114 for a total of mm. 717 including
the mouthpiece. The factory, founded by Iacobus Biglioni (member of the
Accademia di Santa Cecilia), was active in Rome since 1721. Later other members
of the family are documented as makers and musicians such as Baldassarre (1719
- 1793) known as turner and successor of his father Gaspare. Two sons of
Baldassarre, Domenico (1757 - 25 December 1828) was classified in 1827 as
"fabbricatore d'istromenti"; Giovanni (1762 - 29 September 1838),
Luigi (1797 - 1851) and Luigi, son of Domenico, were oboe players at the
Accademia di Santa Cecilia while Giovanni played trombone with "the
musicians of Campidoglio" from 1781 to 1793. From 1781 to 1827 the
workshop was in via dei Banchi Vecchi 55.
J. 95. Rosewood bassoon,
marked: five-pointed star / C. MAHILLON & CỌ / LONDON / L. P while the wing
is branded: five-pointed star / C. MAHILLON & CỌ / LONDON / MADE AT THEIR /
BRUSSELS / WORKS / five-pointed star / L. P. The instrument, which can be dated
around 1875, is made of rosewood with nickel silver keys and ebony hole
contour. The mechanics are French with 17 keys, including the spiked one on the
"S". Charles Borromee Mahillon (1813-1887) founded his musical
instrument factory in Brussels in 1836. In 1844 he opened a store in London, at
42 Leicester Square, where he sold instruments made in Brussels: in 1887 the
store moved to 141 Oxford St. In 1865 he was joined by his son Victor Charles
Mahillon (1841-1924) who later founded the Museum of Musical Instruments in
Brussels. The dimensions are mm. 492 for the wing, 453 for the breech, 556 for
the long piece and 312 for the bell.
K. 21. Victorian bell for
hotels. This elegant bell is made up of a marble base, mm. 80 in diameter, on
which a metal frame of mm. 96 in height, inside which there is a brass bell
that is struck by a spring clapper. The structure is adorned with three large
pieces of mother of pearl, high mm. 80; the metal structure shows ring in the
lower part, two bunches of grapes and, on the side of the clapper, a flower
while on the clapper there is a crescent.
M. 22. Hunting cornett, English,
in a single piece entirely made of silver. The slander and elegant instrument
is 304mm (11.95”) long, including the small and finely turned mouthpiece.
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