Ekna Dal Cortivo

Quarterly No. 55 April 1989

FOMRHI Quarterly
BULLETIN 55 2
Bulletin Supplement 8
Plans! Museum of Instruments, Royal College of Music, London 9
Check List! Instruments by named makers! Jeremy Montagu Collection 11
Membership List Separate Cover

COMMUNICATIONS

904 New Grove DoMI! E.S. no. 13! N and O entries E, Segerman 16
905 FoMRHI and conservation / restoration R. Chiverton 18
906 A response to Cary's Comm. 900 on conservation and accreditation J . Montagu 19
907 University of Edinburgh Collection ... progress report 1983 A. Meyers 21
903 Response to Comm. 389 J . Swayne 22
909 Plastic, ivory, gold and South Africa A.Powell 23
910 GPS Agencies artificial ivory W, R, Stevens 24
911 Instrument drawings R. Chiverton 25
912 High tech in instrument making S. Bezinger & J . Evald 28
913 The flutes of Robert and Willem Wijne M. C. J . Bouterse 29
914 Observations on the wear of two keyboards separated by 200 years R. K. Lee 37
915 Ho percussion in more part [polyphonic] dance music B. Neumann 41
916 Rhetoric for the voice and instruments E. Segerman 43
917 The Birmingham wire gauge and i t s musical s i s t e r s R. Gug 45

FELLOWSHIP OF MAKERS AND RESEARCHERS OF HISTORICAL INSTRUMENTS

Hon. Sec. J , Montagu, c/o Faculty of Music, St. Aldate's,

Oxford OX1 1DB, U.K.
 *>•>

bull.55, p.2

FELLOWSHIP of NAURS and BSSEAICHEIS of HISTORICAL HSTRITMEHTS

Bulletin 55 April, IMP
I have been g e t t i n g a few complaints about not r e c e i v i n g Q.54 from t h o s e of
you who renewed your subscriptions a f t e r t h e January Quarterly was printed
and s e n t off t o all who had by then renewed. This I am a f r a i d was due t o
Eph not h a v i n g had t h e time t o g e t t h e back stock of Qs down t o Barbara,
and for t h i s we apologise. However, we d o n t apologise very much because if
you had s e n t In your renewals in time (ie soon a f t e r t h e October Q arrived
w i t h t h e renewal form, and anyway before Jan.1st), then you'd have g o t t h e Q
w i t h everyone else! The ones we really do apologise t o for t h i s delay are t h e
new members, and t o them we apologise most sincerely. Bear w i t h us please;
Eph Is now t r y i n g t o run NRI more or l e s s s i n g l e - h a n d e d , and s i n c e for all
t h r e e of us (Eph, Barbara, and me) FoMHRI h a s t o f i t down t h e cracks of time
between t h e Jobs we're really meant t o be doing, t h i s Is particularly d i f f i c u l t
for Eph u n t i l he can g e t reorganised.
PRIST SIZE: Several comments asked me please t o g o back t o proportional spa-
c i n g , s o I have. I l i k e i t b e t t e r , t o o . I h a t e t h e wide space round t h e 1
and t h e 1 of t h e other s i z e s .
FURTHER TO: ComuuMP: Marsha Taylor w r i t e s :
I n r e s p o n s e t o B r u c e H a y n e s ' c o m m u n i c a t i o n #889 "...In
Death I s i n g " , Oct. 1988, I too can only w h o l e - h e a r t e d l y
support his concern for the preservation of African
elephants and others, especially in l i g h t of the film,
G o r i l l a s i n t h e M i s t w h i c h f o c u s e d on t h e s l a u g h t e r of a p e s
f o r t h e i r hands t o be used a s a s h t r a y s .

To d a t e i n my p r o d u c t i o n of o b o e s I h a v e n o t offered
t u r n i n g s e i t h e r a u t h e n t i c b e c a u s e of t h e s t a t e d s i t u a t i o n o r
artificial b e c a u s e I h a v e n ' t found a s u i t a b l e substitute,
including Vigopas o r homemade r e s i n experiments. I am
i n t r i g u e d w i t h c e l l u l o i d w h i c h I s e e u s e d on c u t l e r y h a n d l e s
from t h e t u r n of t h e C e n t u r y E n g l a n d a t f l e a m a r k e t s . I
wonder a b o u t i t s f l a m a b i l i t y . I a s k t h e FOMRHI m e m b e r s h i p
if anyone might know of present-day manufacture of
c e l l u l o i d p o s s i b l y somewhere i n G r e a t B r i t a i n .

In response to Bruce Haynes' plea for action on the

e l e p h a n t s i t u a t i o n , 1 s u g g e s t we a s i n d i v i d u a l s w r i t e t o t h e
A f r i c a n C o n s u l a t e s i n o u r r e s p e c t i v e c i t i e s i n p r o t e s t and
a s a n o r g a n i z a t i o n p o s s i b l y d i s c u s s s t a r t i n g a fund t o h e l p
r e f u r b i s h l o s t A f r i c a n f u n d s u n d e r t h e a u s p i c e s of FOMRHI.
See a l s o A r t i f i c i a l Ivory below.
Bull.-4, p.4, The Permuted Index: Charles Stroom wrote t o me:
Dear Jeremy,

I have just received Fomrhi 0-54 with the index as appendix. To make a small correction to your explanation:
the author names are included in the list of keywords (which I have selected), just as the other keywords, and
that is why they appear in the middle of the Permuted Index, as you have correctly noted. However all key-
words are printed in an alphabetically sorted order, thus not immediately after the author name.
As I said, the list of keywords is the list of words forming the middle word and this list can be modified
easily enough to accommodate changes or additions. The Permuted Index is generated fresh from the Chro-
nological Index, which is the only index I have to type in.
 bull.55, p. 3

I entirely agree with Eph Segerman's comments: it would be very useful indeed, if the tide would include
the important keywords of die Communication. You may have noticed that, in the Permuted Index, each
entry is limited to one line only, if a line is too long to fit, it will be truncated automatically, so long tides are
no problem, not for me at least. The other disadvantage (not covering the Bulletin) is due to die author's lim-
ited amount of time.
Anyhow, I invite anybody to let me know of any mistake, omission or modification to be included.
Berthold Neumann's Comm. herewith: To amplify one of h i s points towards the
bottom of h i s second page, t h e drum does indeed a c t as a drone, and when I
was playing with Muslca Reservata I used not only t o tune t h e heads of t h e
b i g tabor (a very deep drum with a low sound, based on a Provencal tambour-
in), but also t h e snare.
Jon Swayne's Comm. herewith: I've told him t h a t some people are farming and
coppicing box in t h i s country. We were told during the recent Clarinet Week-
end here t h a t someone from the Early Music Shop goes down t o Chequers every
couple of years and buys box from t h e Prime Minister, and also t h a t several
other s t a t e l y homes have plantations of box. If anyone can produce addresses
and also if anyone knows of plantations of other useful hardwoods in t h i s
country, and in any other country where we have members, do please let me
know. This is a more important environmental issue even than t h e elephants,
for if the rain f o r e s t s of hardwoods go, i t won't Just be the elephants t h a t
face e x t i n c t i o n .
ARTIFICIAL IVORY: Jon Swayne:
I have recently come across another source. This material i s casein based
(reputedly, goatsmilk). I t ' s available only in flat s h e e t s , figured or non-
figured. Price 184Ff/Kg. I have obtained a sheet to try, which measures 500 x
400 * 12.5ram (demi-pouce?), weight about 3kg. French u s e r s I have spoken to
report that i t i s much b e t t e r to work than Vigopas or the GPS Agencies
material; the swarf smells a bit like horn, r a t h e r than the strong, fumey smell
of p l a s t i c , and does not s t i c k to i t s e l f in a feathery mass by e l e c t r o s t a t i c
a t t r a c t i o n ; i t does not have the same alarming tendency to s h a t t e r .
It is not available in rod form, and the p a t t e r n on the figured version might be
too strong for some purposes, though that may only be so on my sample. A s e t
of h o l e - c u t t i n g saws would be an economic way to convert the material for use
as f e r r u l e s .
I will supply a small sample to any member who sends a SAE, otherwise the
source is Jean SAUZEDDE, Chevalier, St.Remy sur Durole, F-63550, France.
Jon sent me a tiny sample of the figured type. The f i g u r i n g is rather like a
piece of figured maple on a fiddle back, not in concentric c i r c l e s like ivory
usually i s , but I suppose as Ivory might be if i t were quarter sawn. It has a
good firm polished surface and would certainly be excellent for keyboards. It
feels smooth on the lip. One reason for the l a s t remark is t h a t I found t h e
original GPS material, which was on show at the Horticultural Hall two years
ago, very unpleasantly s t i c k y on the lip, and t h i s Is important for recorder
makers, who use 'ivory' for beaks, and for anyone making 'ivory' flutes, and
presumably for keyboards as well, since i t might also feel s t i c k y under the
finger.
I have had a couple of l e t t e r s from Mr .Stevens of GPS Agencies, the longer of
which (written after he'd seen Q.54) appears as a Comm. herewith. His add-
ress is in the List of Members herewith, too. He sent me a sample of t h e i r
l a t e s t variety. This, as far as I can Judge from the partly polished surface,
is not at all s t i c k y , and, like Jon's sample, would work well for mouthpieces
or keyboards. I've passed the GPS sample on to Lewis Jones for him and h i s
colleagues at the London College of Furniture to experiment with. Lewis has
promised me a report on i t for the next Q, because I gave It t o him just as
bull.55, p. 4

t h e i r vacation had s t a r t e d , so there was no chance t o work w i t h i t before

t h i s Q went t o print. This isn't a subject t h a t ' s g o i n g t o go away, and more
reports of Ivory s u b s t i t u t e s will be welcome, particularly from people who have
used more than one variety and who can therefore provide comparative reports
on t h e working q u a l i t i e s and on t h e feel in use.
You might aso bear in mind t h a t GPS Agencies produce i m i t a t i o n t o r t o i s e -
shell, useful for keyboards and s t r i n g instruments, and also imitation horn
which one would have t h o u g h t was in ample supply from t h e nearest abbatolr,
but I suppose t h a t now t h a t more and more farmers dehorn t h e i r c a t t l e , horn
may also become scarcer.
On t h i s subject of A r t i f i c i a l Ivory, see also Further t o Comm.889 above, and
several Comms In t h i s Q.
QUERIES: Luis Artur Esteves Pereira a s k s if any member can g i v e him t h e pre-
s e n t address of t h e International Society of Organ Builders, formerly c/o
D.M.A.Vente, University of Utrecht.
Jan Kalsbeek Is t r y i n g t o locate "round-tall German harpsichords with Italian
features because I think these are the most specific German harpsichords".
He has succeeded in g e t t i n g a grant t o study such instruments in museums in
Europe. So far, he h a s traced t h e two "Mletkes" in Berlin; t h e Zells in Ham-
burg, Aurich and Barcelona; t h e Fleischers in Hamburg, Barcelona and Berlin;
t h e Harras in Sondershausen; t h e Hass in Gothenburg, Copenhagen, Oslo, Brus-
s e l s , Paris and Edinburgh; t h e Oesterlein in Berlin; and t h e Vater in Num-
ber g. This is f a i r l y urgent for him, so if you can add any instruments to
t h i s l i s t , please do so as soon as possible; I presume t h a t he would also be
grateful t o hear of any in accessible private c o l l e c t i o n s . His address, and
Luis Pereira's, are in t h e new List of Members herewith.
OTHER JOURNALS: I s a i d In t h e l a s t Bulletin t h a t Cathy Folkers and Ardal
Powell are producing a new quarterly, Traverso. The f i r s t issue has arrived.
It Is only four pages (one American equivalent of an A3 s h e e t ) , two of them
t e x t , one of a bulletin board of f l u t i n g events, instruments for sale, e t c , and
one outer cover and subscription form. Since i t c o s t s $12 in USA and Canada
and S15 overseas, one assumes, or anyway hopes, t h a t i t will become more
somewhat more s u b s t a n t i a l as i t g e t s g o i n g .
I referred also to Larigot In t h e l a s t Q (In Comm.895), and I have now had a
subscription form from them. It c o s t s 130 French francs, plus another 50 F
if you want airmail abroad, for 1989. Back issues are 40 F each, or 100 F
for the three t h a t there have been so far. The address i s Hugues Molet, 98
bis rue du cherche-midi, 75006 Paris, France, and cheques e t c should be made
payable t o A.C.I.M.V. (Association des Collectlonneurs d'Instruments de Musique
a Vent), which Is the Society t h a t you are Joining in order t o g e t Larigot.
EXHIBITION: The Early Musical Instrument Exhibition a t t h e Horticultural Hall
will be 29th September to 1st October t h i s year. Unfortuntely for me, t h i s
c l a s h e s with the Jewish New Year, so t h a t I shan't have a stand and can only
be there on the Friday. If you want t o save trouble and g e t your renewals in
then, you'll find me around Barbara Stanley's stand, or Eph's, or wandering
round the hall. Barbara will, of course, be there, but I think t h a t she hopes
t o be too busy s e l l i n g instruments t o spend too much time on FoMRHI. So try
t o c a t c h me on the Friday.
MUSEUMS: There have been a variety of rumours f l y i n g around recently about
The Royal College of Music, t h a t they were c l o s i n g t h e museum (towards a new
building for which many of us contributed only a few years ago), s e l l i n g it
off, and so forth. We hope t h a t all t h e s e are groundless, but c e r t a i n l y they
are, like so many academic i n s t i t u t i o n s in t h i s country, including t h i s Uni-
 bull.55, p. 5

v e r s l t y , in c o n s i d e r a b l e need of money. The Curator of t h e museum, E l i z a b e t h

Wells h a s s e n t me t h e following note, and she h a s also s e n t an u p t - t o - d a t e
l i s t of t h e i r plans, which you'll find elsewhere here.
Elizabeth Wells, Curator of the Royal College of Music Museum,
has sent this statement from the Director of the College:
Alternative sources of funding are being urgently sought to
improve the service offered by the Museum and it is hoped with
better accessibility to the public.
In the meantime, however, it is regretted that, although the
Curator cannot respond to requests for information, the Museum
is open from 2.00 - 4.30 p.m. on Mondays and Wednesdays during
College terms. (Parties and special visits by appointment
only).
The following are available:
A set of 13 postcards (£3-00, or 25p each)
Catalogue of Wind Instruments (£4-00 + p&p)
Guide to the Collection (£1-00 + p&p)
Working drawings (see attached list)

The Bate Collection h a s r e c e n t l y acquired an important c l a r i n e t . I t ' s in h i g h

F and is marked I.B.Wlllems. Hoewver, i t looks much e a r l i e r t h a n t h e d a t e s
for t h e known maker of t h i s name, and I suspect t h a t i t is by h i s f a t h e r or
even h i s g r a n d f a t h e r . I t h a s two keys and looks much l i k e a Denner or an
Oberlender. Only t h e one-piece body and t h e bell a r e o r i g i n a l , but Brian
Ackerman h a s made us a one-piece mouthpiece and b a r r e l , and i t now plays
very well. I had hoped t o announce t h e a v a i l a b i l i t y of a plan of i t in t h i s
Q, but i t ' s not ready y e t . What we do have is a plan of t h e Hendrlk Richters
Oboe drawn by Dick Earle. This c o s t s £10 and Includes xeroxes ot photos of
t h e engraved s l i v e r keys and t h e turned ivory mounts. The xeroxes have come
out very well, and t h e y a r e cheap enough t h a t t h e y can be Included w i t h t h e
d r a w i n g , whereas p h o t o g r a p h s would c o s t £30 for a s e t of s i x , and also mean
my wife h a v i n g t o c h a s e down t h e o t h e r end of Oxford twice every time a n y -
body wanted a s e t . They a r e available if you r e a l l y want them, but do look
a t t h e xeroxes f i r s t t o see if t h e y will do. There will be a full d e s c r i p t i o n
of t h e instrument, and of t h e technology involved in i t s manufacture, in t h e
Galpin Society Journal, but not t i l l 1990 I'm a f r a i d ; i t was t o o l a t e for 1989.
We have a l s o a new, and much more a c c u r a t e , s e t of plans for t h e two Miller
Bb c l a r i n e t s portrayed in t h e famous Zoffany p a i n t i n g of t h e Sharp Family.
These a r e by Charlie Wells, and they c o s t £10 each or £15 for t h e p a i r . The
two i n s t r u m e n t s a r e not q u i t e I d e n t i c a l , which is why he h a s drawn them
b o t h . One h a s a one-piece mouthpiece and b a r r e l , and t h e o t h e r h a s a s e p a -
r a t e mouthpiece and b a r r e l , and t h e r e a r e o t h e r d i f f e r e n c e s a s well. Another
c l a r i n e t plan in p r e p a r a t i o n , also by C h a r l i e , is t h e 9-key Heinrich Grenser.

I've had a note from David Shaw of Darwin College, U n i v e r s i t y of Kent, Can-
t e r b u r y , CT2 7NY, who came in here while I was away. He was r e c e n t l y work-
i n g in t h e Biblioteca Nacional in Lisbon, and found t h e r e a l a r g e collection
of musical Instruments which he t h i n k s may be l i t t l e known. I t included a
crumhorn (Boydell type 5), which t h e young lady t h e r e s a i d was a flute and
which Is not l i s t e d in Boydell's book, a tromba marina w i t h name and d a t e
(he only remembers t h a t i t was Nancy, 1531), a c u r t a l , s e r p e n t s and lyzarden,
and l o t s of keyboards and plucked s t r i n g s .
BORE MEASURING: I • told you a while back about a b o r e - m e a s u r i n g machine
which Tom Lerch b r o u g h t here from Berlin, which had a wider r a n g e t o i t s
bull.55, p.6

probe than Rod Cameron's, was more stable, and had an electronic digital
read-out, rather than a chart recorder. Herewith as a Comm. is a note by Its
inventor, describing t h i s machine In passing but concentrating on his newer
model, which puts the information into a computer. To my mind, t h i s Involves
one of the major disadvantages of Rod's machine: more clobber to carry about,
more space to set It up, more things to go wrong. What attracted me to the
simpler version was that it all went into a box about the size of a renais-
sance basset recorder case; long enough to take a base about a metre and a
half long and less than 10cm wide and deep. There is also a very consider-
able price difference between the two versions! The simpler version costs
about 2100 DM, and the computerised one about 11,000 DM (plus the cost of a
PC-compatible computer of course); neither price is definitive since the former
is subject to inflation, etc., and the latter machine is not yet completed.
One reason that I asked Mr.Evald for more Information about the device is
that, like Rod's machine, It makes very light contact with the bore of the
instrument. The ideal is no contact at all, but while t h i s Is theoretically
possible (for example with ultrasonics), the equipment necessary is wildly
expensive unless you happen to work in a hospital which has already got it,
and I don't know how portable It is. In t h i s Imperfect world, Rod's and
Evald's machines are by far the best and safest ways of measuring bores that
I have yet met. I Just wish I could afford to have one of them here.
GOMES BT FAX: This is not a good Idea. Mr.Evald sent a copy of his by fax
in case the post missed the deadline. Luckily the posted one got here in
time, because the fax version was not reproducible In the Q. It was legible
enough to read, but by the time it had been photocopied, reduced, and printed
I doubt whether you could have read it. So, except in extreme emergencies,
don't reckon on fax as a way to get your Comma here.
BURSARIES AVAILABLE: John Barnes writes:
J J K Rhodes B u r s a r y Fund
A new s o u r c e o f g r a n t s f o r keyboard r e s e a r c h i s
available. Would you p l e a s e communicate t h i s t o FoMRHI
Members?

The Fund was s e t up by members of t h e F r i e n d s of

St C e c i l i a ' s f l a i l and t h e R u s s e l l C o l l e c t i o n i n memory
of t h e work: o f J J K Rhodes who d i e d i n December 1 9 8 5 .

The p u r p o s e i s t o e n c o u r a g e r e s e a r c h i n t o e i t h e r t h e
t e c h n i c a l o r d e c o r a t i v e a s p e c t s of h i s t o r i c a l keyboard
i n s t r u m e n t s o r i n t o t h e m u s i c a l m a t t e r s t h a t can be
i l l u m i n a t e d by s u c h i n s t r u m e n t s , p a r t i c u l a r l y i f
c o n n e c t e d i n some way w i t h t h e R u s s e l l C o l l e c t i o n ,
U n i v e r s i t y of - . d i n b u r g h .

A f i r s t g r a n t of up t o £ 7 5 0 i s a v a i l a b l e f o r award i n 1 9 8 9 .
Anyone w i t h a r e s e a r c h p r o j e c t w i t h i n t h e above g u i d e l i n e s
i s invited to apply. A p p l i c a t i o n s s h o u l d be s u b m i t t e d by
3 1 s t May 1989 on t h e form a v a i l a b l e from:
The Rhodes Fund Committee,
U n i v e r s i t y of E d i n b u r g h ,
F a c u l t y of M u s i c ,
St C e c i l i a ' s H a l l ,
Niddry S t r e e t ,
Edinburgh EKL 1LJ.
 bull.55, p. 7

The Conservation Unit h a s announced t h e f i r s t Marks 4 Spencer Textile Con-

servation Bursary of £16,800 over two years, and hopes t o be able t o follow
t h i s up with bursaries in other subjects sponsored by other companies. Let
us hope t h a t there may be firms interested In music which are similarly
generous.
RECORDING: Uta Henning t e l l s me t h a t Peter Widensky has made another recor-
ding, t h i s time of mostly unpublished Carinthian music of the 18th and 19th
c e n t u r i e s on a chamber organ probably of Egedacher workshop of about 1700
which i s now in a museum in Klagenfurt. Copies (LPs) are available from her
a t DM 2 5 . - - .
ACOUSTICS: Jacques Leguy says t h a t he is now inscribed on t h e l i s t of
J u d i c i a l E x p e r t s for problems d e a l i n g w i t h a c o u s t i c s and organs in France.
COURSES: Martin-Christian Schmidt has sent me a l i s t of seminars and con-
c e r t s run by h i s Forum Alte Muslk, Rostock. Re*my Gug is running one on h i s -
torical brass (2-4 June), and Raphael Alpermann and Martin-Christian one on
h a r p s i c h o r d music and making (27-29 September). There are several one-day
seminars a l s o , but Rostock's a long way for most of us t o go for one day.
Bernard Brauchll Is r u n n i n g courses a g a i n In Magnano. from 12th t o 2 0 t h Au-
g u s t , w i t h himself t e a c h i n g c l a v i c h o r d , Esteban Elizondo on organ, and George
Kiss on h a r p s i c h o r d , w i t h c o n c e r t s and l e c t u r e s a s well. Further information
from F e s t i v a l e Cor s i Musica Antica a Magnano, Via Roma 48, 1-13050 Magnano
(VC), I t a l y .
There's no Bate Collection Weekend t h i s term, but there are t h e four Summer
Schools: Renaissance Recorder w i t h Alan Davis, Lewis Jones and Helen Rees on
r e c o r d e r , and Lynda Sayce theorbo & l u t e , August 7-11 (£60); Baroque Recorder,
also w i t h Alan, Lewis and Helen, w i t h Warwick Cole h a r p s i c h o r d , August 13-18
(£70); Baroque _ Classical Traverso w i t h Lisa Beznosiuk and Lewis, and Lorna
Fulford h a r p s i c h o r d and f o r t e p i a n o , August 20-25 (£70); and Baroque Oboe and
Bassoon w i t h Paul Goodwin (we hope, but he's had a c l a s h i n g r e c o r d i n g come
In, and we're t r y i n g t o find out whether Bruce Haynes might be around t h i s
p a r t of t h e world i n s t e a d ) , Dick Earle, and Lorraine Wood (oboes), Andrew
Watts nad Paul White (bassoons), and Warwick Cole ( h a r p s i c h o r d ) , September
10-15 (£100). Booking forms a r e a v a i l a b l e from me.
The L u t h e r i e Society of The Welsh School of Instrument Making and Repair
have r e c e n t l y joined us, and t h e i r s e c r e t a r y , Andrew C a r r u t h e r s , h a s kindly
s e n t me a copy of t h e i r p r o s p e c t u s . There a r e t h r e e full time courses, on
violin making and r e p a i r ; piano t u n i n g , r e p a i r and r e s t o r a t i o n ; and h a r p
repair. The courses a r e a l l designed t o lead t o a p r o f e s s i o n a l c a r e e r , and
t h e y intend t o widen t h e scope w i t h f u r t h e r i n s t r u m e n t s a s time goes on.
The a d d r e s s of t h e School Is under t h e L u t h e r i e Solcety in t h e new L i s t of
Members.
COMPETITION FOR ENSEMBLES: The Swedish Baroque F e s t i v a l h a s announced an
I n t e r n a t i o n a l Baroque Ensemble Competition a t t h e MalmO College of Music,
August 12-19. Applications must be in by May 12th on a form a v a i l a b l e from
the Information Officer, Mr.Ove T o r s t e n s s o n , Swedish Baroque Festival,
Musikhb'gskolan 1 Malmtf, Box 13515, S-20044 Malm., Sweden itel: 040-19 22 00).
I have one copy h e r e , but I d o n ' t know whether t h e y would accept photocopies
of I t .
LIST OF MEMBERS: The new l i s t h e r e w i t h . Please use i t t o make c o n t a c t w i t h
your colleagues, especially when t r a v e l l i n g t o o t h e r c o u n t r i e s . There Is one
c h a n g e from previous p r a c t i c e : I have put all t h e u n i v e r s i t i e s t o g e t h e r under
U; previously t h e r e was a question whether t h e y should be under t h e c i t y ,
t h e i r l i b r a r y , t h e i r name or what. I hope t h a t t h e r e a r e no e r r o r s , but I
bull.55, p.8

often find t h e odd spelling mistake, but not usually u n t i l I'm doing t h e new
one a year l a t e r ! So, If I've done you a mischief In t h i s way, please l e t me
know so t h a t I can correct i t in t h e next Supplement instead of l e a v i n g i t
t i l l next year. Also, do please t e l l me if you've moved; It's your money i t
wastes when a Q comes crawling back t o us marked Unknown or Gone Away, and
i t ' s you t h a t doesn't g e t t h e Q when you're a Lost Member.
CODA: That's i t for now; I've kept t h i s open while I did t h e List of Members
In case a n y t h i n g more came In, and a few b i t s have done so.. When I wrote
i t f i r s t , I was g o i n g t o say Have a nice s p r i n g , but t h e day before, we got
home from Jerusalem t o find a blizzard r a g i n g between Heathrow and Oxford,
so I decided not t o . The weather is much improved now, most of a week later,
so perhaps I will.
DEADLINE FOR NEXT Q: June 3 0 t h , please; then I can g e t i t s t a r t e d over the
weekend.
Jeremy Montagu
Hon.Sec.FoMRHI

BULLETIN SUPPLEMENT Ephraim Segerman

Conservation Training?
I have received a booklet just put out by The Conservation Unit of the Museums &
Galleries Commission entitled "Conservation Training - An initial survey of full-time
courses in the United Kingdom" by Mary Giles OBE. It analyses the returns of a
questionnaire sent by The Conservation Unit to the organizers of the courses. The
names of 17 of the courses mentioned have the word 'conservation' in them and 9 have
' r e s t o r a t i o n ' (this includes 4 that have both). Then there are 2 about bookbinding which
use neither word. None mentioned so far involve musical instruments. The London
College of Furniture had no course t i t l e other than 'B/TEC H.N.D.' and it is not clear
whether this included furniture, musical instruments or (most likely) both. The
remaining 4 courses included the 3 at the Newark Technical College (Piano Maintenance
and Repairing and Violin and Woodwind Making and Repairing) and the West Dean College
course on Making Early Stringed Musical Instruments.
The questionnaire did not ask about the conservation content of each course, and indeed
for the majority of the courses, judging from the t i t l e s , conservation is a major
component. But this is obviously not the case with the instrument courses.
Nevertheless the booklet consistently assumes that all are conservation courses. Table
t- gives 'Numbers and Percentages of Students Entering Employment in Conservation
over the Six Year Period' (1982 to 1987). It l i s t s 152 such in the field of musical
instruments. The previous table gives 157 s t u d e n t s who completed the courses on
musical instruments. It seems that all but 5 (3%) of the s t u d e n t s who went through
musical instrument courses took employment in conservation, and that all were
apparently properly trained for the profession.
What I was afraid of in my Bull. Supp. of Q 52 (and did not express properly) was that
professional repairers of musical instruments will call themselves professional
conservators (and dominate the musical instrument conservation field) without thorough
training in the field and without embracing the ethics of i t . These ethics often conflict
with their financial i n t e r e s t s as repairers and the natural aesthetic predisposition to
experience instruments and the r e s u l t s of one's work acoustically. See Comm. 864 for
the fate of a s t u d e n t ' s request for a lecture on the ethics of conservation in one of the
leading instrument courses. I am now worried more than ever. In the current social
climate where 'green' issues are increasingly popular, conservation is bound to become a
good bandwagon to climb onto without necessarily taking it seriously. Let us hope that
the conservation profession can a s s e r t i t s standards more effectively than this booklet
implies.
continued on p. 17
 MUSEUM OF INSTRUMENTS
ROYAL COLLEGE OF MUSIC
PRINCE CONSORT ROAD
SOUTH KENSINGTON
LONDON SW7 2BS
Telephone 01-589 3643

PLANS OF INSTRUMENTS

Technical drawings of the following instruments are now available.

These dyeline prints are detailed full-scale plans on stout paper for the
benefit of those wishing to carry out organological research or build copies.

The prices shown below do not include packing (in cardboard mailing
tubes) and postage. VAT at 15% has to be added for UK orders. Please do
not send money with your order, but wait until you receive our notification.
On receipt of your remittance, we will send you the drawings.

For orders from abroad, please send a cheque or bank draft in sterling,
payable by a bank in London. If, however, you wish to pay in your own currency,
please add the equivalent of £5.00 to your remittance to cover the bank costs
which will be payable by us. Please do not send a Post Office money order.

RCM No.
48 Cittern by Gieronimo Campi, Italian, late 16th century £10.00
Lacks rose and bridge. Overall length 728mm. Original
string length 433mm approx.
(1 sheet, 850 x 600mm) Drawn by Ian Harwood, 1974

26 Chitarrone by Magnus Tieffenbrucker, Venice, 1608 £18.00

Stringing 6 x 2, 8 x 1. Body length 679.5mm. String
lengths 933mm approx and 1700mm approx.
(3 sheets, 850 x 600mm) Drawn by Ian Harwood, 1974;
revised 1977

171 Guitar by Belchior Dias, Lisbon, 1581 £22.00

Vaulted back, body length 365mm, belly not original.
(2 sheets, 1120 x 770mm, with additional notes)
Drawn by Stephen Barber, 1976

32 Guitar, attributed to Jean Voboam, Paris, c.1680 £22.00

Length of back 456mm. Bridge not original.
(2 sheets, 1280 x 950mm and 950 x 810mm, with
additional notes) Drawn by Stephen Barber, 1979

46 Division viol by Barak Norman, London, 1692 £2^.00

Length of belly 634mm. Present string length 658mm.
(2 sheets, 1370 x 1040mm) Drawn by Stephen Barber, 1976

63 Recorder (treble), I. Denner, Nuremberg, early 18th £6.50

century. Carved ivory. Pitch: A=415 approx.
(1 sheet, 585 x 470mm, with additional notes)
Drawn by Friedrich von Huene, 1968; revised 1978
10

1 Clavicytherium, ?German, c.1480 £37.00

1 x 8 . Present compass E-g2; original compass thought
to have been E'E*' F G-g2. Overall height 1415mm.
(1 sheet, 2360 x 1030mm, with additional notes)
This new drawing replaces the less detailed one made by
Derek Adlam and William Debenham in 1976.
Measured and drawn by William Debenham, 1983

2 Harpsichord by Alessandro Trasuntino, Venice, 1531 £38.00

Formerly 1 x 8, 1 x 4, now 2 x 8 . Present compass
BB/GG-c3; original compass thought to have been C/E-f3.
Overall length 2250mm. Outer case not drawn.
(1 sheet, 3480 x 1030mm, with additional notes)
Drawn by William Debenham, 1977

175 Harpsichord, ?Italian, c.1575 £30.00

Originally 1 x 8 , now 2 x 8 . ' Original compass C/E-c3;
present compass C-d3 without Cfc Overall length 1860mm.
Lacks original outer case.
(1 sheet, 2130 x 1030mm, with additional notes)
Drawn by Grant O'Brien, 1974

3 Bentside spinet. English, 1708 £25.00

Compass BB/GG-d3, the lowest two sharps being divided
to give both the short octave and the sharps. Overall
length 1680mm.
(1 sheet, 1930 x 1030mm, with additional notes)
Drawn by William Bright, 1975

209 Regal, German, 1629 £25.00

Compass C/E-c3. Metal resonators. Overall length 1165mm.
(1 sheet, 1875 x 1025mm)
Drawn by Christopher Clarke, 1979

-oOo-

A s e r i e s of photographs of each of the above instruments i s also obtainable.

D e t a i l s w i l l be sent on request. (There i s a large number for some of the
keyboard instruments, so i t i s unlikely that a complete s e r i e s would be
desired.)

Prices: U x 6" prints £**. 50 each

6 x 8" prints £5-00 each
8 x 10" p r i n t s £5-50 each

plus postage, and VAT for UK orders.

 II

JEREMY MONTAGU COLLECTION CHECK LIST OF INSTRUMENTS BY NAMED MAKERS

p.l of 5

cat, no, maker _. instrument

I 142c Acme, foghorn

III 230 Acme, s i l e n t dog whistle
V 146 Acme, skylark ft warbler
V 148 Acme, plover call
II 226 Johann Adler, descant recorder
II 18b P.O.Adler, Markneukirchen, fife
IV 20 Gebr.Alexander, Mainz, alto trombone
VII 224 Gebr .Alexander, Mainz, Almenrader system bassoon
V 104 American P l a t i n g ft Mfg Co.Inc. 2241 S.Indiana Ave, Chicago 16,
fife
VI 136 Hans Karl Andersson, Evertsberg, Sweden, spil&plpa
V 108 American Plating ft Mfg Co, swannee whistle
V 50 Aulos, Japan, p l a s t i c treble recorder
VI 131 Aulos, Japan, sopranino recorder
V 230 Avalon Industries Inc, 95 Lorlmer St, Brooklyn NY, t w i r l - a - t u n e
III 224 Barnes ft Mulllns, London, toy c l a r i n e t
VIII 158 M.Barr, London, Zah-zah flute eunOque
VII 122 Philip Bate, pibcorn
IV 34 Baumg.rtel, Muhlhausen 1, German simple system Bt> clarinet
I 36 Besson, London, simple system Bb clarinet
II 112 Besson ft Co, Bb duty bugle
V 242 Besson ft Co, 198 Euston Rd, G/D or G/C bass/contrabass trombone
IX 160 Besson ft Co, London, rooster crow
II 68a F.Besson, 198 Euston Rd, french horn with all crooks ft 2-valve
slide
V 192 Jdzsef Blge, Bocskai iil.31, Budapest, hungarian shawm
V 138b Black Duck, Whiting, Indiana, goose call
II 12 Blackman, Blackfriars Rd, 8-key flute
VII 154 Blackman, Blackfriars Rd, 4-key Bb flute
IV 132 Bohland ft Fuchs, Graslitz, flugel horn
I 40 Boosey ft Co, simple system Eb soprano clarinet
I 52 Boosey ft Co, french horn
III 144 Boosey ft Co, F flute, Pratten system
IV 42 Boosey ft Co, Eb natural trumpet
V 160 • Boosey ft Co, Eb soprano cornet
VI 18 Boosey ft Co, Pratten's perfected flute
VI 226 Boosey ft Co, F bass cavalry valve trombone
VII 216 Boosey ft Co (banner marked D1stin), tenor horn (bell only)
VIII 144 Boosey ft Co, Bb euphonium with Blalkley compensating valves
II 158 Boosey ft Hawkes, side drum
IV 22b Boosey ft Hawkes, Eb twice round natural trumpet
IV 216 Boosey ft Hawkes, dance band post horn
IV 208 W.Brown ft Sons, 323 Kennington Rd, french horn
II 14 Buisson, Paris, Boehm system flute (name used by Dallas)
V 138a Burnham Bros, Marble Falls, Texas, fox-call
IV 124a/b Busson, 2 knee organs
II 102 Butler, Haymarket, soprano trombone
III 14 Butler, Haymarket, 1900, pitch pipe
VIII 154 Butler's Vibrating Horns, 57 Greek St, helical cornet
VI 168 CBS Masterwork, modele FAR-WEST jews harp
VII 226 Cabart, Paris; Guiraud, Toulouse, conical Boehm flute
VII 230 Castegnier ft Mlcollier, Paris, oboe t o low A
V 168 Catania Carmelo, Catania, S i c i l y , flat-back mandolin
VIII 174 F.van Cauwelaert, Bruxelles, Bb tenor valve trombone
IV 202 S.A.Chappell, Siccama system flute
IX 70 Clarke, t i n whistle
*mmmmmmmmmmmmmmmm*mtmmmm.
12

JEREMY MONTAGU COLLECTION CHECK LIST OF INSTRUMENTS BY NAMED MAKERS

p.2 of 5

S--A* n°-t maker 4 instrument

I 244 Clement 1 ft Co, 8-key Nicholson flute

V 4 C.C.Conn, Elkhart, Bb euphonium
IV 70 Couesnon ft Cie, 94 Rue d'Angouldme, P a r i s , C melody saxophone
II 108 Antolne Courtois, Rue du Caire, cornopean
V 156 Antoine Courtois, 88 Rue des Marais St.Martin, P a r i s , tenor horn
with all crooks
VII 52a John Cousen, Huddersfield, renaissance F flute
VII 52b John Cousen, renaissance bass flute (body only)
VII 70 John Cousen, soprano curtal
VII 78a John Cousen, G treble recorder, 'Praetorius*
VII 78b John Cousen, treble recorder, 'Virdung' (non-player)
VI 178 P.Das, Calcutta, Bengal flute (transverse)
VI 28 J.C.Deagan, Chicago, aluminum chimes [8 only]
II 2 Delusse, 1-key flute
VII 42 Dipper, small tabor pipe
VII 216 D i s t i n ft Co, 9 ft 10 GR* Newport S \ ballad horn
I 56 Dolmetsch, descant ft treble recorders
I 38 Dore\ simple system C c l a r i n e t
II 6 Drouet, London, 4-key flute (not by Drouet - RM-P)
VI 222 Dupont, Milano, tenor saxophone
X 66 David Dushkin, USA, tenor recorder
IV 44 J.H.Ebblewhite, 24 High St, Aldgate, b e l l - o v e r - t h e - v a l v e s cornet
with all crooks, probably made by Adolphe Sax
V 140 Roger Eddy, Newington 11, Conn, audubon bird call
VIII 130 W.T.Elliott, Dundas NSW, copy of my Stanesby Jr flute
V 106 H.K.Elton, f i f e w i t h duct mouthpiece
VI 214 Jose Fernandez, Saxony, tenor ukelele
VII 88 F i r t h . Hall ft Pond, Franklin Sq», N-York, 1-key F flute
II 16 G.French, 19 Laystall St, f i f e
IV 204 Gautrot-Marquet, Paris, systeme-4 oboe
VI 146 GlanchorlA, tenor valve trombone
VI 8 Geerligs, Deurningen, midwinterhoorn
VII 84 Generation, metal tabor pipe
IX 12 Generation, D t i n w h i s t l e
V 226 Geraldo, Germany, piano accordian
VI 52 rOC MV3 OKA yHIPOMKOMbMHATA, JIEHHHrPAJI, Bb tenor trombone
II 62 Gould ing, Pall Mall, 6-key bassoon
II 118 W.Grayson, 5 Princes Str, s l i d e trumpet
V 142 Gretsch, humanotone
VII 222 John Grey ft Sons, London, mandolin banjo
II 66 Guichard aine ft Cie, Paris, trompe de chasse
VII 226 Guiraud, Toulouse, (see Cabartl, conical Boehm flute
VII 156 J.H. ft London hall-mark, conductor's baton
IV 184 Peter Harlan, supertreble recorder in A
I 76 Hawkes ft Son, side drum
II 60 Hawkes ft Son, 17-key bassoon
II 114 Hawkes ft Son, Bb trumpet
III 124b Hawkes ft Son, r a t c h e t
III 222a/b Hawkes ft Son, simple system Bb ft A c l a r i n e t s
IV 196 Hawkes ft Son, simple system metal Bb clarinet
IV 218 Hawkes ft Son, 'Long D' trumpet
V 176 Hawkes ft Son, G bass trombone
II 216 P.Henderson, Glasgow, highland g r e a t pipes
VI 186 Herouard fr, 13-key Bb c l a r i n e t
II 226b Herwig, descant recorder
VII 170 George Higgs, small rote
 13
•••...•• ii mm*

JEREMY MONTAGU COLLECTION CHECK LIST OF INSTRUMENTS BY NAMED MAKERS

p.3 of 5

c a t , no, maker _ instrument

VI 128
VI 258 J.Hlgham, 2 V i c t o r i a St ft 131 G* Ducie S*. Manchester, c o r n e t
VI 150 J.Higham, Manchester, C t e n o r trombone w i t h Bb t u r n valve
VII 204 Hill, l a t e Monzanl ft Co, 28 Regent St*, 8-key flute [see GSJ 271
III 52 Tim Hobrough, g o t h i c h a r p
V 194 Hohner, mouthorgan
V 224 HC?ohnerl, panpipe
V 124 Hohner, piano a c c o r d i a n
V 126 Hopf, s o p r a n i n o r e n a i s s a n c e r e c o r d e r
III 126 Hopf, g a r k l e i n r e n a i s s a n c e r e c o r d e r
II 20c J.Hudson, 244 Barr St, Birmingham, police w h i s t l e
III [46a Improved, London, 4-key piccolo
IV 64 Improved, London, 1-key Bb flute
I 182 Improved, London, English f l a g e o l e t
V 116 Inalcy, Hong Kong, Chinese shawm
VIII 118 T.K., Japan, w h i s t l e
II 68b Lewis Jones, fiddle bow a f t e r C a n t i g a s
IX 68 Hy Keat ft Sons, 105 ft 103 M a t t h i a s Rd, horn mute
II 110 Kelischek, p l a s t i c t a b o r pipe
VII 146 M.J.H.Kessels, Tllburg, Bb fidgelhorn
IX 154 Key, London, 13-key Eb soprano c l a r i n e t
IV 58 Kitchen ft Co, Leeds, toy trumpet
II 94 Kohler, H e n r i e t t a St, McFarlane's Improved Cornopean
V 172 KChler ft Son, 35 H e n r i e t t a St, b a s s trombone
IV 32 Kohler ft Son, 116 V i c t o r i a St, p a i r of t i m p a n i
VI 248 Gflnter Korber, r e n a i s s a n c e flute
IV 198 Giinter Korber, t e n o r crumhorn
IX 86 Louis Lachenal, c o n c e r t i n a reed t u n e r
II 10 Alojz Lan£ari£, Sen lea, CSSR, n i g h t i n g a l e
II 180 Lawson, Tottenham Ct Rd, 7-key flute
III 200 Leedy, pedal t i m p a n i
VII 130 J.Lfpa, Nymburk, German simple system C c l a r i n e t
V 80 Lubberink, mldwinterhoorn
IX 32 W.F.Lludwigl.Drum Co, Chicago, American 1-valve duplex bugle
IX 80 Cajsa Lund, Stockholm, s n o r r a
IV 256 Anton Luptak, Detva, CSSR, walking s t i c k fuyara
III 256 AM, P a r i s , celluloid ' t i n ' w h i s t l e
VI 66 MacConnell, Woolwich, p a i r Ward p a t e n t t i m p a n i
II 120 MacDonagh ft Son, E.Saintem€me, P a r i s , Boehm piccolo
III 186 C.Mahillon ft Co, London, F trumpet
VII 62 C.Mahillon, Bruxelles, Bb b a r i t o n e , 4 valves, close folded
V 138c/d C.Mahillon, Bruxelles, F trumpet, s h o r t model
VIII 138 Mallardtone, 2901 16th St, Mollne, IL.crow and coon c a l l s
III 162 Simon Mana, Gumini, New Guinea, jews h a r p
IV 36 Mayer Marix, P a r i s , Bb Boehm system c l a r i n e t
VII 112 Martin fr, simple system Bb c l a r i n e t
II 138 Bob Marvin, d e s c a n t r e c o r d e r
IV 188 A.F.Matthews ft Co, London, 1937, g u a r d s model s i d e drum
II 204 Melnl ft Lauber, Wolfratshausen, 'Haas' trumpet
II 96 Metzler ft Co, 35, 37 ft 38 Gt.Marlborough S t , c o n c e r t i n a
IV 10a Karl Meyer, t e n o r trombone (name used by Selmer)
VII 230 Bobby Mickleburgh, trumpet mute
I 188 Mlcollier, P a r i s [see C a s t e g n i e r l , oboe
III 170 Milhouse, London, 2-key oboe
IV 130 W.Milhouse, 337 Oxford St, 5-key c l a r i n e t
IX 52 W.Milhouse. 337 Oxford St, 5-key flute
John Mill-tan, whizzcr
14

JEREMY MONTAGU COLLECTION CHECK LIST OF INSTRUMENTS BY NAMED MAKERS

p.4 of 5

- - - ^ B0-1 maker £ Instrument

II 210 Moitessier f l l s , g u i t a r Invented by Moline

VIII 128 G.Mollenhauer ft Sdhne, Cassell, reform flute t o low H
VIII 190 Anthony Moonen, Maastricht, bird f l a g e o l e t
IV 56 Christopher Monk, cornettino
IV 134 Christopher Monk, cornett
VII 144 Monzani ft Co, 28 Regent St*, 1596, 8-key flute
VI 188 A.Morhange, P a r i s , Eb a l t o saxophone
IV 26 John Morley, clavichord
V 150 Motohashi Toy Mfg.Co, Japan, s w i s s warbler
VI 220 MUller, autoharp
V 164 B.R.Narborough, Birmingham, Maker, pace s t i c k [also Hy.Potter]
v
IX 8 Gray Nicol, Auckland, N.Z., puutorino
VI 6 Henny Nijhuls, Vasse, midwinterhoorn
V 28 Noblet, France, metal Boehm system Bb c l a r i n e t
V 30 William Nuernberger 'American A r t i s t ' , Germany, metal Boehm
clarlnet
I 142a W.Nunn ft Co, London, fog horn
VI 54 Adolf Oberli, Gstaad.alphorn
V 20 F.E.01ds, Los Angeles, Bb tenor trombone (converted t o sackbut)
VII 172 Andrew Parkinson, gemshorn
II 130 Parsons ft Co, Birmingham, xylophone
II 190 Parsons, Birmingham, tambourine
I 2a Paxman Bros, horn mute
IV 60 Pediwest, toy c l a r i n e t
VII 142 Manuel Pereira, successor M.G.Teixeira, Lisboa, g u i t a r r a
VII 148 P h i l l i p s , London (with Prince of Wales f e a t h e r s ) , 1-key F flute
II 4 Phipps ft Co, London, 1-key flute
VI 42 Pinfold, metronome
IX 88 FrantiSek Pok, p l a s t i c renaissance recorder
I 30a Potter, London, boxwood flute, lower body ft foot to CJf only
III 248 Potter, London, 1-key piccolo
IX 104 Fotter, London, boxwood flute, foot with 1 key ft r e g i s t e r only
II 8 Potter, Johnson's Court, 6-key flute
II 182a Potter, Aldershot, pair of timpani
VI 16 George Potter, Aldershot, Bb natural trumpet
V 164 Hy.Potter ft Co, 36 ft 38 West St, pace s t i c k [also Narboroughl
VI 64 Hy.Potter ft Co, 5-key F flute
IV 200 Wm.Hy.Potter, Johnson's Court, 8-key flute
II 158 Premier, s i d e drum
V 252 Premier, side drum
VII 198 Keith Prowse ft Co Ltd, 1..9 New Bond St, red-hot fountain pen
VIII 188 Felix Raudonikas, Leningrad, copy of Hotteterre flute
VIII 14 John Rawson, London, clavichord
VII 220 Reliance, ukulele banjo
VIII 110 T.Repo, Finland, duct flute
II 256 RiviSre ft Hawkes, 28 Leicester Sq, Bb euphonium
IV 232 Riviere ft Hawkes, 23 Leicester Sq, Bb baritone
II 70 Roehn, 131 rue du Faubourg St .Den i s , F tenor horn
IV 126 Rudall Carte ft Co, 23 Berners St, vocal horn
X 4 Rudall Carte ft Co, 23 Berners St, thumb-plate oboe
III 192 Rudall, Rose, Carte ft Co, 20 Charing Cross, 1851 system flute
VII 218 Rudall, Rose, Carte ft Co, 20 Charing Cross, 1867 system flute
VI 62 Rushworth ft Dreaper, I s l i n g t o n , Liverpool, 6-key Bb flute
IV 112 GHS, Fabrik, Marke, 6-key musette
I 2 Sachslsche Musikinstrumenten Fabriken, Klingenthal/SA, french
horn
 15

JEREMY MONTAGU COLLECTION CHECK LIST OF INSTRUMENTS BY NAMED MAKERS

p.5 of 5

cat. no. maker ft Instrument

VI 66 E.Saintem€me, Paris, Boehm piccolo [see MacDonaghl

VII 150 Adolphe Sax, Paris, Eb alto saxophone
[see also Ebblewhitel
IX 82 Friedrich SchlUtter, Zella-Mehlls, DDR, bark 'carp scale'
IX 84 Friedrich SchlUtter, jews harp in A
V 14 Adolph Schmidt, Eb sousaphone
I 34 Karl Schwarz, Molln, collection of jews harps
VIII 258 Karl Schwarz, Molln, Jews harp
IX 2 Rune Sellm, Mora, Swedish alphorn
IV lOb/c Selmer, Shastock cornet and trombone mutes
VIII 34 Richard Shann, Glan y Gors, miniature harpsichord [his loan!
IV 242 Sherwin, Woolwich, cornet
I 42b C.Silvanl ft Smith, 45 Wilson St, London ft Paris, Bb echo cornet
III 258 Alfred Smith, Kingston, zither banjo
III 154 Stanesby jr, 1-key ivory flute
IV 4 J.Starck ft Co, London, 6-key piccolo
IX 4 Egil Storbekken, Tolga, Norway, selJe-flSyte
I 132 W.Stowasser's SChne, Graslitz, cavalry french horn
III 34 Swaine ft Adeney, proprietors of Kohler ft Son, hunting horn
V 180 B.J.Tenniglo, Ootmarsum, midwinterhoorn
II 98 Jer6me Thibouville-Lamy ft Co, 10 Charterhouse St, tenor trombone
VI 10 Je[rome]t[hibouvillell[amy], musical saw
VII 228 J[-rdme].T[hibouvillel.L[amy], Boehm system oboe
I 134 A.de Toni, Verona, upright tenor valve trombone
V 232 Tri_bert, systdme 3 oboe
X 12 M.Troman ft Co, Curzon St, B'ham, Phono Harp (jews harp with t i n -
plate bell)
III 254 Turner, 84 Leadenhall St, 7-key flute
I 210 J.A.Turner, London, picco pipe
II 142 M ft G Voigt, Markneuklrchen/SA, sexton's timpani
IX 238 RW, pellet bell
I 256 J. Wall is, french flageolet
III 172 Joseph Wall Is, keyless Glorgi flute
IV 210 Walton, Dublin, 'Irish' harp
VII 66 Wessex Crafts, Langport, Somerset, r a t t l e w a t t l e ,
III 220 H.Whitaker,58 Arthur St, 9-key flute
VII 32 Paul Williamson, small tabor
VII 34 Paul Williamson, deep tabor
VII 36 Paul Williamson, wooden nakers
VII 38 Paul Williamson, copper nakers
VI 244 J.Wood, London, 6-key Bb clarinet
I 242 Wood ft Ivy, 4-key flute (Bb key removed)
VII 86 Laurence Wright, Llanfairpwll, treble shawm
IX 50 Yamaha, Japan, small electronic keyboard
V 8 York Band Instr.Co, Grand Rapids, Mich, Eb melophone (tenor cor)
V 16 J.W.York ft Sons, Grand Rapids, Eb helicon
VIII 26 Anatoly Zajaruzny, Kiev, reed rozhok
IX 26 Anatoly Zajaruzny, Kiev, Ukrainian bagpipe
II 152b/c Avedis Zildjian, USA, 2 cymbals
II 156 K.Zildjian, Constantinople, pair of cymbals
VI 126 K.Zildjian, Istanbul, cymbal
IX 82 K.Zildjian, Istanbul, pair small cymbals
I-X represents volume of the Catalogue; 2-256 represents page number.
Addi e s s e s are given only when, and as, marked, with the exception of some
contemporary makers, for whom a town has been added.
16

FoMRHI Comm. 904 E. Segerman

New Grove DoMI'. ES no.l3S N and O e n t r i e s

Nakers (by J . Blades)

Naqqara. (by W. J . Conner, M Howell, R. At'ay an)

There is a problem with relative sizes and pitches of the two drums. The Nakers entry
s t a t e s that they "vary l i t t l e in diameter" though a minority of European medieval
i l l u s t r a t i o n s show them clearly different in s i z e s . The Naqqara entry s t a t e s they are
tuned to different pitches, being ambiguous about historical and modern practice.
Lawence Wright has quoted me a 1553 reference by Pierre Belon stating that the Turkish
instruments were of different s i z e s . Yet the 17th century painting illustrating the
Naqqara article shows pairs of equal size. It seems that pairs of equal and unequal
sizes were used in both cultures. One would expect different pitches with different
sizes, but not necessarily the same pitches with equal sizes. We should be on the
lookout for pictorial and literary information t h a t might throw light on t h i s .

Neck (by D. D. Boyden)

The entry mentions that l u t e s had from 6 to 14 s t r i n g s instead of courses. A large viola
d'amore is said to have a neck broader that violins for strength to bear the tension of
the many more s t r i n g s . Added s t r e n g t h is not needed for the tensions involved, and if it
were, added depth would be b e t t e r than width. The change of neck angle on violins
around 1800 was not associated with any increase of string tension, as s t a t e d .

New Violin Family (by C. Hutchins)

The author's modesty does not give herself proper credit for developing these
instruments. She cites P r a e t o r i u s a s a precedent for 8 members of the fiddle family,
while Praetorius gave at most 6 (she included the double b a s s and contrabass viols).

Norman, Barak (by M Lefkowitz)

I know of no reputation of this maker for making l u t e s , as s t a t e d .

Nut (by D. D. Boyden)

If, as s t a t e d , the nut "adds a fictional resistance that helps the pegs in holding the
s t r i n g s " , it is not set up properly.

Ocarina (by Anon)

I missed mention of the Gemshorn (Virdung 1511) which works on the same principle (as a
Helmholtz resonater).

Ornaments (by R. Donington)

This extensive entry is a considerable improvement on the author's previous writings on

the subject because it includes much more Renaissance information. In the introduction
he distinguishes between gracing and division, missing one of the major differences,
which is that graces are slurred whenever possible and division generally not (i. e. in
graces there is no new breath or pluck or bow stroke, while divisions are articulated like
other notes). This distinction is not clear on keyboard instruments. The author's
keyboard-centrism is illustrated by his error in stating that the simultaneous
appoggiatura (acciaccatura or t a s t ) "is confined to keyboard instruments", not realizing
that i t s keyboard manifestation is an imitation of this common grace on the lute and
viol, which was usually performed by playing an open string while playing a lower
appoggiatura on the next-lowest string ending up on the same note.
 17

Mace's description of how to perform the hard and soft shake is misunderstood. It is
not a description of a trillo (on one note) but a proper shake involving two pitches. The
difference between the hard and soft shake was therefore missed, and should be
included amongst the varieties listed (the hard shake emphasizes the main note and the
soft shake emphasizes the upper ancillary (or auxiliary) note. Mace's sting is not quite
like the modern vibrato, as stated, because it involves taking the thumb away from the
back of the neck to make the vibrato very wide, and the hand is waved only several
times.

The section on the English virginalists' strokes would be clarified by reference to my

Comm 398, considering them as indicating members of the fall class of graces (starting
from below the main note) or the relish class (starting on or above the main note). Lute
gracing is here mentioned but reference is made to the Ornamentation section of the
Lute entry where it is extensively discussed. That discussion would also benefit from
consideration of Comm 398.

Qverspun string (by F. Hubbard)

The entry does not mention silk or plastic as core material, or copper (silver plated and
not) or brass as winding material, or the use of plastic winding between core and metal
as in modern violin strings.

continuation of BULLETIN SUPPLEMENT from p. 8

Pitch Standards?
Bruce Haynes sent a friendly note encouraging me to write the reply to his Comm. 891
that I promised in the last Bull. Supp. I must apologize to him and any others who might
be interested for not getting it done for this Q. I'll try my best for the next one.
Fellows!
In Comm. 864 there are some critical remarks about Fellows of FoMRHI which reveal
misunderstanding. The organization was set up to further communication about
historical instruments, promoting historical accuracy. Membership is open to all,
including many who don't share the information they have and who don't share the
commitment to historical accuracy. If the organization were made fully democratic, there
has always been the possibility of a shift away from this commitment. Therefore, voting
was restricted to a group of members (who we called 'Fellows') that we could reasonably
be sure had this commitment, and who also freely shared the information they had.
I s s u e s requiring a vote rarely occur, so the distinction between Fellows and members
who are not Fellows is rarely significant, this distinction is only an insurance for
continuity of policy, and does not imply that Fellows are any better makers or
researchers than non-Fellows, nor does it imply that a non-Fellow is any l e s s committed
to historical accuracy than a Fellow. If being a Fellow carried any real prestige or
power (which could be the case if we had to make corporate decisions, such as
establishing criteria, in other than our own limited activities), then it would be
appropriate to consider making the system either more democratic or more rationally
selective. At the moment, the main function the Fellowsplay is as an easily consulted
group that Jeremy, Barbara and myself are answerable to.
18

FoMRHI Cmmm. 9o_"

FoMRHI and C o n s e r v a t i o n / R e s t o r a t i o n Roy C h i v e r t o n

I v a l u e my membership o f FoMRHI, b u t I l o o k on i t as a some-

what d i f f u s e i n f o r m a t i o n - a n d - v i e w e - s h a r i n g g r o u p , b a r e l y a "body",
p o s s i b l y r a t h e r a f e d e r a t i o n o f autonomous r e p u b l i c s . I may make
c o n t r i b u t i o n s t o t h e Q u a r t e r l y , b u t t h e y r e f l e c t what I know o r
t h i n k . I d o n ' t speak f o r anyone e l s e . S i m i l a r l y , o t h e r c o n t r i b u t o r s
d o n ' t s p e a k f o r me ( u n l e s s t h e y ' v e asked me f i r s t ) . Under t h e t i t l e
o f t h i s Coma, I am o b v i o u s l y t h i n k i n g of Eph S e g e r m a n ' s remarks i n
B u l l . 52 Supp on c o n s e r v a t i o n . That d o e s n ' t mean he s h o u l d n ' t have
made them. The freedom t o e x p r e s s even p r o v o c a t i v e v i e w s i s an i m -
p o r t a n t p a r t o f what FoMRHI i s a b o u t . But I d o n ' t a g r e e w i t h them
and I d o n ' t s e e why I s h o u l d , under t h e name "FoMRHI", be coupled
w i t h them by t h o s e who o b j e c t t o them. Given t h e d e m o c r a t i c n a t u r e
o f PoMRHI, i t a l s o seems a l i t t l e i l l o g i c a l t o l e a v e i t b e c a u s e of
t h e n o t n e c e s s a r i l y r e p r e s e n t a t i v e v i e w s o f one member. And what i s
the a l t e r n a t i v e ? Censorship?
Having g o t t h i s f a r , I may a s w e l l o f f e r my two-pennyworth,
p u t my head on t h e b l o c k , a s i t w e r e , and be prepared t o g e t the
chop from anyone who d i s a g r e e s ( a s I am eure Mr Segerman was i n
making h i s B u l l . 52 r e m a r k s ) . I t seems t o me t h a t t h e nub o f the
m a t t e r i s i n J e r e m y ' s remarks on p26 of Q50 ( t o p p a r a ) ( a l t h o u g h ,
i f Jeremy w i l l f o r g i v e me, h i s 5) l o w e r on the page seems t o r e -
f l e c t t h e c o n f u s i o n he warns a g a i n s t i n t h i s upper p a r a ) and i n
h i s comment i n p 2 - 3 o f Q51 (" 'what b u s i n e s s i s t h i s of FoMRHI's?'
. . . I t h i n / , t h e y are p r o b a b l y r i g h t " ) . To me, r e s t o r a t i o n and c o n -
s e r v a t i o n a r e c l e a r l y two d i f f e r e n t f i e l d s , a l t h o u g h t h e y i n e v i t -
a b l y o v e r l a p . C o n s e r v a t i o n , a s Cary Karp s u g g e s t e d y e a r s ago i n
E a r l y M u s i c , i s e n s u r i n g t h a t t h e heap o f s p l i n t e r s i s a v a i l a b l e
f o r s t u d y w i t h no f u r t h e r d e t e r i o r a t i o n . R e s t o r a t i o n i s p u t t i n g
them back t o g e t h e r a g a i n , w i t h a l l t h a t t h i s may mean f o r the
d e s t r u c t i o n o f e v i d e n c e and t h e impeding o f the a p p l i c a t i o n of
l a t e r d i e c o v e r i e s . C o n s e r v a t o r s have a c o n t i n u i n g r e s p o n s i b i l i t y
f o r t h e i t e m s i n t h e i r c a r e . R e s t o r e r s u s u a l l y have a t r a n s i e n t
r e s p o n s i b i l i t y . Thu6 c o n s e r v a t o r s are presumably more concerned
about environment and t h e i m p l i c a t i o n s o f r e s t o r a t i o n f o r l o n g -
term p r e s e r v a t i o n , w h i l e r e s t o r e r s w i l l u s e t h e i r s k i l l s t o meet
t h e u s e r ' s / c u s t o d i a n ' s r e q u i r e m e n t s . T h e y w i l l have common ground
i n t h e i r u n d e r s t a n d i n g of t h e b e n e f i t s o f d i f f e r e n t methods of
r e s t o r a t i o n . And s o o n . There s h o u l d be no d i f f i c u l t y i n p r o d u c -
i n g workable d i s t i n c t i o n s .
How you c h o o s e y o u r c o n s e r v a t o r s and r e s t o r e r s i s a n o t h e r
m a t t e r . In t h e l a t t e r c a s e , I imagine you would go f o r something
l i k e an I n s t i t u t e of Musical I n s t r u m e n t R e s t o r e r s , and have AMIMIRs
l i k e we a l r e a d y have AMIEEs, AMIMechEs and BO o n . You d e f i n e s t a n -
dards as w e l l a s p o s s i b l e t o s t a r t w i t h and t h e n r e f i n e them f o r
a g e n e r a t i o n or two. The IMIR would n o t e q u a t e t o FoKRHI, a l t h o u g h
i t would be odd i f FoMRHI c o u l d n o t be v e r y h e l p f u l t o t h o s e who
s e t i t up.
Such d e v e l o p m e n t s need d e b a t e , and FoMRHI i s a l s o a v a l u
a b l e forum f o r d e b a t e . I t would be the g r e a t e s t p i t y i f , r a t h e r
than d e v e l o p and inform d e b a t e , t h o s e w i t h much t o c o n t r i b u t e
opted o u t . The committee member who r e s i g n s has s u r r e n d e r e d h i s
chance t o i n f l u e n c e the committee t o a good outcome. I t would be
h e a r t e n i n g i f Cary Karp would r e c o n s i d e r h i s d e c i s i o n t o q u i t
FoMRHI.
My head i s on the b l o c k - I await a x e - w i e l d e r e w i t h , I
h o p e , f o r t i t u d e . But i f y o u ' r e p r e p a r i n g your a x e , aim i t a t me -
mot FoKRHI..
 IS

FoMRHI C O M . 906 Jeremy Montagu

A Response to Cary's COBB. 900 on Conservation A Accreditation.

I didn't Bake any response in Q.5+ t o Cary's Comm, according t o our normal
practice of Eph and I not t a k i n g an unfair advantage by responding in t h e
saae Q as somebody's Comm, unless they permit us t o do so. However, I did of
course write t o Cary in response, and I would like to make rather aore public
some of t h e t h i n g s t h a t I wrote to h l a . What follows is an edited version
(cutting a a t t e r s irrelevant t o t h i s discussion such as why I s t i l l do not
have E-Mail f a c i l i t y [no money]) of two l e t t e r s t o him, one in response t o h i s
Comm, and the second In response t o h i s reply t o t h e f i r s t l e t t e r . Some
explanatory Interjections have been added in 1...I
"Also In t h e post yesterday was your Comm. I'm very sorry if I've
offended you, and even sorrier if i t means you dropping out of FoMRHI. I'm
well aware t h a t I'm not a conservator, but I'm also aware t h a t I'm one of a
very small minority In the musical instrument world in t h i s country t h a t ' s
even Interested In conservation, as d i s t i n c t from restoration, and one ot an
even smaller minority t h a t has even heard of t h e difference (which i s why I
stopped belonging t o UKIC [the United Kingdom Institute of Conservation!-,
remember my comments [Comm.501, Q.34, January 19841 on t h e i r VAA Christmas
Symposium a few years back), and I'm interested enough t o belong t o IIC [the
International Institute for Conservation of Historic and Artistic Works!. I
was asked t o attend those meetings [at the Museums a Galleries Commission;
see Comm.849, Q.50, January 19881 because they knew of no other organological
organisation with even a passing Interest in conservation, and nor did I. As
you saw, there were representatives from most other s p e c i a l i s t subjects, and
they wanted t o know what t h e s i t u a t i o n was for musical instruments. The
Conservation Unit seems to want t o approach t h i n g s from a subject aspect,
recognising, I s t i l l think r i g h t l y , t h a t there are different conservation
problems from one s p e c i a l i s t subject area to another. As you may know, I
have been arguing with Bob [Barclay] about t h i s (and apparently was a t t h a t
s t a g e the only person who'd even bothered to reply t o him), and would s t i l l
prefer to trust an Instrument to a musical Instrument restorer who is also
knowledgeable about conservation, and can be trusted t o conserve and only t o
conserve, than to a conservator who Is trained only as a picture conservator.

T h e Conservation Unit was putting some pressure on all of us a t

t h a t meeting towards a general UK accreditation system. Judging from David
Leigh's l e t t e r in the Q [Comm.863, Q.51, April 19881, they've been compelled by
general reaction to back-pedal on t h i s , but we were all asked to i n v e s t i g a t e ,
within our own areas, what could be done about t h i s , and we all had a carrot
waved at us in t h a t g r a n t s from the Museums and Galleries Commission (of
which the Conservation Unit was a part) for conservation work (and we're all
short-funded enough t h a t these g r a n t s are v i t a l ) would in t h e future only be
available for work done by those conservators who are accredited. That, also,
i t looks as though they are back-pedalling on, and they'll obviously have t o ,
since we're not the only s p e c i a l i s t area which isn't g o i n g t o be able t o pro-
duce any a c c r e d i t a t i o n scheme for ourselves and for which nobody else i s g o -
ing t o produce one e i t h e r .
There is s t i l l a crying need for t r a i n i n g for conservators in t h i s
country, both in general and in a number of s p e c i a l i s t subjects. There is an
even greater need for the awareness of conservation, for a d i s t i n c t i o n b e t -
ween it and r e s t o r a t i o n , and a greater need s t i l l for t h a t awareness t o per-
20

c o l a t e t h r o u g h t h e musical instruaent world, and world-wide, not Just in t h i s

country. You c r i t i c i s e t h e Bate (and a e ) for keeping our instruments in
playing order and for h a v i n g them played (possibly quite r i g h t l y ) . I would
point out t h a t t h e y are kept stably in t h a t condition, a s they were designed
t o be by t h e i r makers,, t h a t they are not, froa t i a e t o time, hauled up into
t h a t c o n d i t i o n , subjected t o t h e rigours of Intensive p r a c t i c e and recording,
and t h e n relaxed a g a i n , which t o ay a i n d i s much aore of a s t r a i n . I would
point out, too, t h a t anybody who g i v e s or s e l l s us an Instruaent knows t h a t
t h a t i s our policy. At l e a s t I have ay eyes open [to any resulting dangers
Involved In this policy].
T f you feel t h a t you can only work in t h e museum world, so be i t .
I've s t r e s s e d t o you before t h a t t h e auseua i n s t r u a e n t s of t h e future are in
t h e hands of t h e collectors of t h e present. Where do you think we got the
Edgar Hunt Collection froa? Where did t h e Shrine [to Music Museum, Vermil-
lion, South Dakota] g e t t h e Witten Collection froa? Where, for t h a t matter,
did Boston [Fine Arts Museum] get t h e Leslie Lindsay Mason Collection [the
original Galpin Collection, purchased In 1917 and described In one of the
greatest catalogues, Nicholas Bessaraboff's Ancient European Musical Instru-
ments] f r o a and t h e Met/ronoJ/tan Museum of Art, New York] t h e Crosby Brown?
If you're not w i l l i n g t o go on b a s h i n g away a t present-day collectors, trying
t o aake them aore aware of t h e i r duty t o t h e i r instruments, l e s s 'It's mine, I
can do what I l i k e ' minded, t h e auseua c o l l e c t i o n s of t h e future suffer and
will go on s u f f e r i n g . You have t h e knowledge, you have t h e a b i l i t y t o commu-
n i c a t e , you have t h e s t a t u s which means t h a t some, a t l e a s t , may l i s t e n to
you, but i t ' s up t o you whether you use i t .
*Vith ay t h a n k s for all your help and encourageaent In t h e past."

To t h i s Cary replied, arguing and d i s p u t i n g some of t h e above points, and

particularly a p o l o g i s i n g t h a t he had, apparently, offended me. I was going
to omit ay response t o t h i s , but I have decided t o include some of i t because
i t i s , I t h i n k , while not relevant t o t h i s d i s c u s s i o n , iaportant in i t s empha-
s i s on debate without offence.

"Sure I took your Coma personally; my memory Is t h a t t h a t was the

s t r o n g implication of i t (memory because i t ' s a t t h e printer). But why be
dismayed? We've told each other often enough before what we thought and
we've never been on each other's s h i t l i s t yet, and I hope we never will be.
Sure you've been judgmental about t h e way I run t h e Bate. How not? And why
not? We have d i f f e r e n t ideas in t h a t respect, and what's wrong with that?
You've certainly t a u g h t ae a l o t , and made me much more cautious on what we
do with t h e Instruments."

At l e a s t I hope t h a t Cary and Bob Barclay will see t h i s Comm, for although
neither Is s t i l l a member, Cary's auseua has renewed for '89, and I hope t h a t
Bob's i n s t i t u t e will also do so. One advantage of FoMRHI's informality is
t h a t Coaas can coae froa anyone, and not only froa individual members, so I
hope too t h a t they may respond. Conservation is far too iaportant a subject
t o be abandoned like t h i s . Bruce Haynes and Ardal Powell have been writing
about conservation of elephants (every piece of ivory you use means a dead
elephant). My concern is more with the conservation of instruments, for our
instruments can die, too. They can die because they are kept in front of
unscreened windows t h a t admit too much ultraviolet l i g h t ; they can die
because they are kept in centrally heated rooms without humidifiers, but they
 21
MP-WP'II —''

can also die because they are kept in unheated huts without d e h u a l d l f i e r s .
They can die, too, by being played, wind instruments by having wara moist
air blown into t h e a when they're not used t o i t , s t r i n g instruaents by being
suddenly hauled up t o tension; t h i s i s why many museums won't allow t h e i r
instruaents to be played, and one of t h e areas t h a t Cary and I have often
argued about. Perhaps I should say, parenthetically, t h a t I believe t h a t
there Is a valid d i s t i n c t i o n between t h e collections foraed froa recent play-
ing collections, such as t h e Bate, and those t h a t are h i s t o r i c auseua collec-
t i o n s , c o n s i s t i n g of instruaents t h a t have not been played for aany years.
Instruaents can, if not die a t l e a s t coae very close to i t , by being messed
around by restorers who, while knowledgeable about auslcal instruaents, are
Ignorant about conservation and about what can and what cannot be safely
done to antique a r t i f a c t s . This is why we do need accredited conservators,
people who can be trusted to do the r i g h t t h i n g t o our i n s t r u a e n t s , and i t
is also why we must be aware of the Importance of conservation, as d i s t i n c t
from restoration. It has been said so often t h a t i t hardly needs r e p e t i t i o n
t h a t while conservation preserves an instruaent in i t s present s t a t e ; it h a l t s
time, as i t were, and maintains t h e s t a t u s quo, r e s t o r a t i o n inevitably implies
destruction; some t h i n g s have t o be reaoved, destroyed, even if only pads on
woodwind keys, in order t h a t t h e instruaent may be put into playing order.
The reason t h a t I believe so strongly in the necessity for conservators who
know about musical instruments is t h a t there are many ways of conserving
wood or metal t h a t alter i t s a b i l i t y t o vibrate; a coat of lacquer will
conserve metal beautifully, but i t will also t o t a l l y alter t h e sound of the
instruaent. If t h e Instruaents are to be played, as some a t l e a s t are (here
we go round the same circle a g a i n ) , then t h e conservator must know something
at least about t h e instruaent as well as about conservation.
Finally, t h i s Is why we do s t i l l need conservators in FoMRHI. Many people
have ignored all t h a t Cary, Bob, and others have written, but some have l i s t -
ened to t h e a . I know i t ' s no fun being a voice in the wilderness, being a
prophet without honour, and so forth, but as long as soae people l i s t e n and
respond, i t ' s worth while, and i t does have t o be done if t h e instruaents,
which are our concern, are not t o die.

FOMRHI _'OWM«.907 Uhiv-vs'v+i, tff EJmbvn-^ Collictl'o* oX H-fst-oric hWio* \ I * «+-,;,* *„+£
Progress Report 1988 /W'J M_yt«_

In the year, the University has been given i n s t r u m e n t s by Mr

George b w i l t , Mr Dennis Lofthouse and Miss Kathleen M o o d i e . A tew
•further items have been lent to the Collection.

Two important p u r c h a s e s have been made. A fine viola da gamba

b/ Mathias and A u g u s t i n u s Kaiser of D u s s e l d o r f , circa 17 0 0 ,
together with two bows have been bought with assistance from the
G o v e r n m e n t ' s Local Museums Purchase Fund, the U n i v e r s i t y ' s General
Council Trust, the Pilgrim Trust and an anonymous b e n e f a c t o r . The
two Wagner tubas needed to reunite in University ownership the
historic set of four (brought to Britain by Sir Thomas Beecham in
1935) were purchased from the London Philharmonic O r c h e s t r a .

The Collection has published as a booklet the text of Alan

Lufflsden's lecture 'The Sound of the S a c k b u t ' , given to c e l e b r a t e
the acquisition by the U n i v e r s i t y of the tronbone by Anton
S c h m t z e r dated 1 5 9 4 .

C M rIM</c<> ow p. 2 7
22

r%MRUI C»wn^. 9 0 8
Response to Comm 889 Jonathan Swayne

Bruce Haynes asks for a response to his FOMRHI Comm 889, "...In Death I Sing", in
which he describes the impact of the current world demand for ivory upon the
existence of the African elephant. A recent responsible newspaper a r t i c l e and
TV programme in t h i s country have also drawn a t t e n t i o n t o the problem so that
i t i s now impossible to avoid the conclusion that u n l e s s something changes the
elephant faces e x t i n c t i o n soon.

When I started making woodwind instruments some ten years ago, I decided not to
use ivory out of r e s p e c t for the elephant. As i t happens, a friend recently
bought a small tusk in a s t r e e t market; i t was c l e a r l y very old, and was f i t t e d
with brass bands and a chain, and had hung on somebody's wall for many years.
He offered i t to me, and I took it. I f e l t t h a t I could not harm elephants by
using t h i s old tusk, and I very much wanted to t r y t h i s prized m a t e r i a l once in
my instrument-making career. I used perhaps a q u a r t e r of it for a special
instrument, and I found t h a t i t i s indeed a wonderful substance to work, can be
manipulated so delicately and finished so finely that it brings delight to the
soul of a craftsman. But I am not s u r e t h a t I was r i g h t , or what I will do
with the rest of i t .

Like many e c o l o g i c a l l y - r e l a t e d questions, the problem i s a t once very

complicated and very simple. I feel t h a t instrument makers who use ivory do
not do so wantonly, and our consumption i s miniscule in comparison with world
use. Moreover, although the m a t e r i a l Is for the most part used by us
ornamentally, we a r e not making mere ornaments. One can argue f i r s t l y , that
t h e r e can be no objection if the ivory comes from approved sources, and
secondly t h a t i t s limited use i s J u s t i f i e d in terms of the a e s t h e t i c value of
human a r t and a r t e f a c t s . I do not believe t h a t e i t h e r of t h e s e arguments can
be upheld. In the f i r s t case, leaving aside the question of whether the
approved s o u r c e s a r e properly managed and free from corruption, can i t be right
to take a l e g a l s h a r e in a n a t u r a l r e s o u r c e about to be overwhelmed by i l l e g a l
use ? As to the second, what i s the value of the most e x q u i s i t e work of a r t or
craft in comparison with t h a t of any living species, let alone the elephant ? -
Not to use ivory i s the s i n g l e most important contribution that can be made; it
will a s s i s t in the f i r s t s t e p towards change, which i s a change of
consciousness. We can act by lobbying and by lending our support to such
p r e s s u r e groups as e x i s t , but above a l l by ceasing to place the value of an
a e s t h e t i c ideal above that of part of the l i f e of the planet. The inconceivable
beauty and r i c h n e s s of the Earth, so e a s i l y taken for granted, which has been
and daily i s being diminished by the d e s t r u c t i o n of species both animal and
plant must be worth t h i s small g e s t u r e .

Without wishing to d i l u t e or d i s t r a c t a t t e n t i o n from the above, I should also be

i n t e r e s t e d to hear the views of members on the use of t r o p i c a l hardwoods, and
whether anyone knows if any s t e p s a r e being taken to renew homegrown timbers
such a s box.
 23
FoMRHI Comm. 909 Ardal Powell

_I_l_i___I_9C___Ggl.d_and_Sguth_Afri.ca

At the risk of sounding like FomRHI's resident moralist, drawing

inappropriate comparisons between ivory's and gold's support o-f
Apartheid, or flogging a dead elephant (and now bad taste as w e l l ) , I
would like to pass on without comment (even though its magnificent
split infinitive tempts me sorely) a passage -from the National Flute
Association's F_ut_st_Quarter_y. It was written by Robert Dick, who
is a very well-known avant-garde flute player and composer.

"South Africa's connection to the flutists' world is through its

role as a major supplier of the gold and platinum used in flutes.
I've asked several makers "Where does the gold come from?" and I've
had to cut through a great deal of obfuscation to get to the honest
answer, which is, while it is difficult to know where the ore of a
particular piece of gold or platinum tubing was mined, basically, the
likely source is South Africa. Can't we, as artists and people
involved in the search for the highest of human expression, demand
that flute makers address this problem and not avoid it? To buy a
new gold or platinum flute or headjoint is to, in virual certainty,
knowingly support the economy of the most repressive regime on
Earth. Such a purchase is a vote with _gur_dg__ars for the
government of South Africa and a vote with y o u r d o l l a r s against the
freedom of all but the White minority there. I realize that a lot of
money is involved here, and that flute makers are not working against
the South African Blacks, but until we all confront the issue, it
will continue to be too easy for them and us, the purchasers, to look
the other way.

I admit that it's easy to criticize, and that I personally have no

income to forfeit through the loss of a sale of a gold headjoint, for
example, so I want to make a positive suggestion. I propose we seek
out and support any makers who can assure us that no part of their
flutes originated in South Africa. To my many friends who make
flutes, I apologise for the inconvenience this will cause. This is
not personal: it is one of the major social concerns of our time, a
life and death issue for those involved. We must respond."

***

It's reported in the _n_ma___elf_____Q___tute_Quarter__, Vol 37, Nos.

3/4, that Econgnews, November 19BS, reported the -following (my
emphasis):

"Delegates to the Piano Technicians Convention Council have

approved a resolution opposing the use of ivory in the manufacture or_
re_tgrat_gn of pianos.

The resolution, noting that the very existence of the largest land
mammal is threatened, also supported a ban on all trade in ivory."

Hmm.

GPS flgpncips hc->s recently re-entered the -field of artificial ivory

manufacture, and has come out with an "improved" resin. Mr. W.R.
Stevens will prohably send you a sample if you contact him at:

GPS Agencies
The Clock House, Woodend, Downs Rd.
West Stoke, Chichester, W. Sussex P018 9BP
Engl and

He's also been showing up at various exhibitions lately, FAMM and

Musicora for two.
2+
Raschig GMBH produces the other good ivory substitute, which they
call Vignpas P71A, and other people F.D.E. (Fake Dead Elephant).
Their minimum order is rather large. In Europe they are at:
Raschig GMBH and in Amprira- - -
M . _ . "* " - s r i c a i Raschig Corporation
Mundenheimerstrasse 100 p _ _o- 7656
D-6700 Ludwigshaven-am-Rhein o
5 0 o Osborne Turnpike (Rt. 5)
Richmond VA 23231
F-MRHT Comm 910 GPS Ajc»»cit$ Artificial £v«*y W. R- StevewS

May I first of all

mention that I have not received the back copy containing Bruce
Haynes Comm.889 concerning Ivory, but have read with interest
Ardal Powell's article in the January FoMRHI Quarterly. What he
says is largely true, but there is no mention of a satisfactory
substitute, see page 62 fourth paragraph.

The work that my company has done over the past few years to
develop a simulated Ivory has had marked success, particularly
in the last year since we have been appearing at the Early Music
Festivals around Europe, and many instrument makers have now given
up real Ivory for our material. The machining qualities, general
workability even for carving, as illustrated by Ronald Wick's
Stansby Recorder that he showed at F.A.M.M., Munich and at Musicora,
Paris, shows the sort of work that can be done.

There has been criticism at our first attempt that it tended to

have a marbled appearance in certain diameters, but what is very
important is that as a result of further development work earlier
this year, we have greatly improved the configuration to a more
vertical grain, and this was borne out by the success we had at
Munich and Paris when it was shown for the first time. It is our
intention to change our stock to this new pattern immediately in
stock sizes from 20mm. dia. through to 75mm. dia. We can also now
manufacture 90mm., 100mm. and 130mm. dias. on request. The rods in
these larger diameters are only one metre in length. The working
qualities of the improved pattern are in no way affected.

Referring to Ardal Powell's article, he has now sampled our material

and we understand that he will be changing over to this in the near
future. It is of course possible that his article was written
before he had finished testing our material.

The development necessary to simulate natural products such as

Ivory, Horn, Tortoiseshell, etc., is very time consuming and
expensive for our chemists and will only ever represent a small
part of our industrial activities in synthetic products, but in
view of the importance of the conservation factor we are pleased
to do this, providing we get support from instrument makers and
other specialist industries looking for an alternative to Ivory.

We are at present working closely with the Animal Welfare

Institute in Washington, U.S.A., and the World Wildlife Fund in
the U.K. who are taking our raw materials, together with some
finished articles made by artisan musical instrument makers, to
Japan in the very near future in the hope of persuading users of
real Ivory that there is an acceptable alternative to the real thing.
 25

PoMRHI Comm 9it Roy C h i v e r t o n

Instrument Drawings
T h i s Comm r e s u l t s from a s u g g e s t i o n of J e r e m y ' s t h a t i t m i g h t be
i n t e r e s t i n g t o h a v e c o m p a r i s o n s b e t w e e n d i f f e r e n t d r a w i n g s of t h e
same i n s t r u m e n t t be i s n o t o t h e r w i s e t o blame f o r what f o l l o w s . My
aim i n t a k i n g up h i s s u g g e s t i o n i s n o t , of c o u r s e , t o r e f l e c t a d v e r s e l y
on s p e c i f i c d r a w i n g s . With one e x c e p t i o n , p r o p o s e d by J e r e m y , I h a v e ,
therefore*not i d e n t i f i e d the drawings I d i s c u s s .
Those d r a w i n g s which I h a v e b e e n a b l e t o examine a t l e i s u r e p r o -
v i d e i n f o r m a t i o n on t h r e e d i f f e r e n t i n s t r u m e n t s .
The f i r s t i s an i m p o r t a n t t r e b l e r e c o r d e r . I t w i l l n o t be e x -
p e c t e d t h a t d e t a i l s w i l l be i d e n t i c a l . They s h o u l d , h o w e v e r , be c l o s e .
Measurements of t h e r e c o r d e r d i f f e r g e n e r a l l y by 0 . 1mm b e t w e e n b o t h
d r a w i n g s a t m o s t . But s u r p r i s i n g l y , t h e I) h o l e ( h o l e n o . 3 , h o l e s b e i n g
Th, l - 7 » 7 b e i n g on t h e f o o t - j o i n t ) i s 5.7~~- i n one d r a w i n g b u t 6.1mm
i n d i a m e t e r i n t h e o t h e r , t h e s m a l l e r h o l e b e i n g o n l y oTfc of t h e a r e a
of t h e o t h e r a t t h e s u r f a c e .
The second i n s t r u m e n t i s an e q u a l l y i m p o r t a n t f l u t e . I n one of
t h e d r a w i n g s , most m e a s u r e m e n t s a r e c o n s i s t e n t l y 0 . 1mm s m a l l e r t h a n
in the o t h e r , suggesting a d i f f e r e n t b a s i c s e t t i n g for the measuring
d e v i c e ( s ) . More i m p o r t a n t l y , p e r h a p s , one m o u t h - h o l e - c e n t r e - t o -
t e n o n d i s t a n c e i s 0.5mm l e s s t h a n t h e o t h e r , one h e a r t p i e c e i s 1.35 m ni
l o n g e r t h a n t h e o t h e r , and one main j o i n t i s 1».8___ s h o r t e r t h a n t h e
o t h e r . P r e s u m a b l y a t l e a s t i n p a r t he a r e s u l t of t h i s , i n one d r a w -
i n g t h e n o t e h o l e c e n t r e s a r e 1 . 7 7 , 1 . 5 , 2 » 5 5 , 1.37» 4.1> 3 . 4 7 and 3 . 1 7
mm f u r t h e r from t h e m o u t h - h o l e c e n t r e t h a n i n t h e o t h e r ( o r s h o u l d I
s a y " n e a r e r t o " ? ) . NB I have checked and r e c h e c k e d t h e s e f i g u r e s , b u t
s i n c e t h e d r a u g h t s m e n measured i n d i f f e r e n t d i r e c t i o n s * my f i g u r e s
a r e d e p e n d e n t on t h e a c c u r a c y of my a r i t h m e t i c . I b e l i e v e them t o be
c o r r e c t , however. -r
%,v__«wv, I_WW0-C-.II Junior^
The t h i r d i n s t r u m e n t i s J e r e m y ' s i v o r y S t a n e s b j ^ f where I c o u l d
r e a l l y o n l y compare b o r e i n f o r m a t i o n . The d r a w i n g s a y s e x p l i c i t l y
" u n i f o r m b o r e d i a m e t e r " of 19.2mm f o r t h e h e a d j o i n t , where t h e e l e c -
t r o n i c traceishows a t a p e r from above t h e m o u t h - h o l e t o t h e s o c k e t of
19.2x19*4mm t o 18.5mm, a l t h o u g h a c c o r d i n g t o t h e t r a c e t h i s t a p e r i s
m a i n l y i n t h e h a l f of t h e h e a d j o i n t n e a r e r t h e s o c k e t . The t r a c e of
t h e u p p e r j o i n t h a s much t h e same o u t l i n e a s t h a t d e r i v e d from t h e
m e a s u r e m e n t s g i v e n i n t h e d r a w i n g , b u t i t a v e r a g e s 0.2mm n a r r o w e r .
The l o w e r j o i n t t r a c e a v e r a g e s 0.4mm l e s s i n b o r e d i a m e t e r t h a n t h e
d r a w i n g and t h e f o o t j o i n t t r a c e 0.2-0.4mm l e s s .
I f two of u s make i n s t r u m e n t s u s i n g d r a w i n g s which d i f f e r
t o t h e e x t e n t ( o n l y t o t h e e x t e n t ? ) t h a t t h e e e d o , have we made d i f -
f e r e n t i n s t r u m e n t s ? Have we made i n s t r u m e n t s which w i l l d i f f e r s i g -
n i f i c a n t l y ? C . J . N e d e r v e e n , i n h i s " A c o u s t i c a l A s p e c t s of Woodwind
I n s t r u m e n t s " , s u g g e s t s t h a t a 1> change i n t h e a c o u s t i c a l l e n g t h of
an i n s t r u m e n t , a 10% change i n a h o l e d i a m e t e r o r a 20$ change i n h o l e
d e p t h i s n e c e s s a r y t o p r o d u c e a 10 c e n t change i n p i t o h . He d o e s n o t
s a y w h e t h e r c h a n g e s a r e l i n e a r , and we s h o u l d p r o b a b l y assume t h a t
t h e y a r e n o t . I n my second example a b o v e , t h e g r e a t e s t d i f f e r e n c e
i n l e n g t h was a l s o accompanied by a 6% r e d u c t i o n i n h o l e s i z e ( i n
d r a w i n g 1 , h o l e 5 was a t 4 2 3 . q mm from embouchure c e n t r e and 6 . 5 *
6.35mm i n d i a m e t e r , b u t i n d r a w i n g 2 a t 428mm and 6.2mm d i a m e t e r ) .
I p u t h o l e s of t h e s e s i z e s a t t h e s e d i s t a n c e s from t h e embouchure
26

in two cylindrical plastic tubes (20mm bore, wall 1mm) with iden-
tical mouthholes and accurately set corks, and could not reliably
demonstrate any difference in pitch between the resulting notes on
my pitchmeter (Seiko TOLV). This doesn't prove anything, but sug-
gests that any difference may not be all that great.
In "fundamentals of Musical Acoustics", A.H. Benade says
that a difference in cork position of 0.1mm in relation to the
mouthhole can have "a recognisable influence on the playing beha-
viour of the instrument" (p497), and appears (p.499) to allow the
possibility that aji elliptical bore could sound differently from
a round one, due to greater wall excitability.
If we cannot have absolute confidence in the accuracy of our
drawings, if, however, inaccuracy may not make that much difference
to tuning, if the aspect regarding which we can have least informat-
ion, ie the exact cork position, is so important, and if we cannot
be very sure about the desired sound, then thi6 seems to me a reas-
onable argument for not trying to replicate early flutes, but rather
to recreate them within the external outlines, a.out which we can
be pretty confident.
To oome at this point from another angle, some drawings also
give the pitches of the individual notes of the flute or recorder
which has been drawn. If we make so as to reproduce these pitches,
with a satisfactory sound, might we not diverge from the drawing
measurements - and yet make an instrument more truly like the one
we are "copying"?
Looking at these drawings brought me to examine others I have
rather more closely than before, and I found that on one (still
flutes and recorders, I'm afraid, because that's what I've col-
lected), the depth of the headjoint _oclc_.t was lacking. On another,
the bore of the headjoint wa6 not included. Others lack information
on fingerhole (and mouthhole) undercutting. Some half of all draw-
ings have no information on individual note pitches, one or two
not even giving the overall pitch of the instrument with any exact-
ness. Some exemplary drawings have everything.
Jeremy has been asking what FoMRHI members think should be
the right charge for drawings. One must pay for knowledge, and if
you are going to make one or more instruments which will sell for
several hundred pounds, then £10 is not a large sum - you could
easily pay more for the wood from which you make your instrument.
You certainly paid more for your lathe, your deep-boring augers and
some of your turning chisels. Besides, if you are a professional
maker, such outlay is part of your allowable expenses. If you are
not selling at high figures, or if you are making just for your
own pleasure, and if you would like to try the differences be-
tween different rrakers' designs, this is another matter.
Other comparisons are possible. Sheet music, for example.
Here, however, the initial investment is higher - but so is turnover.
My well-printea and -bound Benade (500 pager) cost £12. T can't
earn money from it, but I could after reading the little Shire pub-
lication on dry stone walling (c. £1.50). So I could if I had a
computer (the software writer's lathe), and laid out £5-10 on a
programming language textbook.
 27

I don't know that any of this helps much, beyond suggesting

that there is something to be said on the side of higher as well as
of lower charges for drawings. My own conclusion is that £10 is quite
a lot to pay for two A4 sheets of paper (the Zen-On drawings of the
Briiggen collection went on sale at £25), but that I would be much
encouraged to do so by a clear drawing containing all measurements
and details of undercutting, the bore being given in 0.1mm incre-
ments, on stable, good-quality paper, preferably plasticised, to
withstand the rigours of the workshop, where the outlines on the
paper are in close agreement with the measurements. Note pitches
(for all playable flutes and recorders, and, to the extent possible,
for reed instruments, these also to have details of workable reeds
or reed/staple combinations) should be given for the full range of
the instrument, together with the temperature at the time when they
were recorded.
One of the aims of producing drawings is to generate revenue
for suitable reinvestment. High quality drawings (a lot of which
exist already, so my specification isn't for something in the future)
will encourage this. Maximising revenue may also be helped by the
"discount for quantity" approach already being operated by one insti-
tution in this sphere. This sort of competition should encourage those
offering inferior products to revise and improve them.

The work on technical drawings has proceeded: seven further

drawings, of oboes, were published this year, making a total of 23
workshop drawings now on sale.

The Scottish Museums Council's Antiquities Conservation Officer

undertook work on two of the instrument cases in the C o l l e c t i o n ,
the work being grant-aided bv the Council.

The Honorary Curator represented the University at the CIMCIM

(The I COM Committee on Musical Instrument Museums) meeting in
Berlin, where he read a paper 'Cataloguing Standards for
Instrument Collections'.

A number of brass instruments have been lent for display at the

Quakers Friars Museum of Music in Bristol.

The Collection has been used for teaching purposes by

University Staff, in particular for courses in the Faculty of
Music on the History of I n s t r u m e n t s , Ethnomusicology and Musical
Acoustics. Several parties have made organised v i s i t s , and
various scholars and instrument makers have visited to study
particular instruments.

Arnold Myers, Honorary Curator.

AM/URA88 31st December 1988

 00

Personal computers have in the last few years found widespread use,
High Tech in Instrument Making also among instrument makers. As no modifications to the computer are
by Stephan Blezinger et Jesper Evald
required, lowering the costs by reusing an existing computer is quite feasible -n
0
without impacts on its normal use.
A major problem in investigating and building woodwind instruments E
is the examination and control of the bores. Be it the unharmful, however The personal computers which have found the most extensive use, are
precise measurement of a historical instrument, be it the production control the IBM PC compatibles. This is not the least due to attractive pricing and
of a new instrument in comparing with a master - until now, no measurement a large selection of quality software. Furthermore portable computers of this o
e
equipment was available, which could fulfill all reasonable requirements as type are available today at reasonable prices. Using such one, it would be J
to accuracy, reliability, innocuousness and ease of use. practicable to carry the whole equipment around. 5
Thus it has been decided to write the measurements program for PC's <X>
A promising method of measurement, using a thin spring as a mechanical
sensor, converting its deformation electronically and plotting the measure- and compatibles, running under MS-DOS. However, if interest exists, the
ments on a paper recorder, until now had serious problems in use, as those program could be rewritten for other types.
early equipments suffers from electronic and mechanic wavering as well as The program to be installed on the PC is very easy to use. It takes care of
severe unstability of the adjustment. all low level functions such as detailed calibration, control of the mechanics
The technique has, however, now been improved by the undersigned and storage of the measurements, and provides the user with error-proof
manufacturer, eliminating the problems mentioned. A series of these new high level command options.
equipments has already shown their value in praxis, giving stable and reliable Some of the more advanced functions of the program are
measurements results. They comprise a measurement sensor rod connected - Manual input of existing measurement data.
by a cable to a handy electronic unit, giving a direct digital readout in - Simple calibration by known-size test rings.
millimeters. - Organized storage of measurements on floppy disk or hard disk.
Together with some instrument makers, this equipment is now being - Printout on the screen or on paper as tables in different formats or as
further developed in order to have an augmented version, connecting the drawings.
electronic measurements results into a computer and providing automatic - Comparison to any reference measurement.
traction of the sensor rod. - Transfer of the data into standard PC programs, e.g. spread sheets, for
The advanced equipment retains the good stability and measurements further advanced analysis.
reliability of the handheld version and in addition offers further comfort - Intelligent guidance of the user.
of use, such as automated measurements and organized storage, together In order to keep the cost of the new equipment on an affordable level,
with a series of facilities for drawings on paper and comparing different also for smaller instrument makers, it would be advantageous to spread the
measurements with each other. development costs (most of which concern the computer program) over a
The standard maximum mearuring depth is 95 cm, however it may be number of units.
made to other requirements also. With the standard sensor rod, the smallest For this purpose, the manufacturer and the instrument makers involved
measurable bore diameter is approximately 6 mm. A miniature sensor allow- so far have agreed to invite further interested parties to join the group, thus
ing measurements down to a narrow 4 mm is under development. Upwards, gaining lower price with increasing number of units.
practically no limit exists, as any measurement range (each with a span of This subscription club will be closed for further members at a later date.
20 mm) may be selected by mounting a correspondingly sized auxiliary feet For orders hereafter the manufacturer will set the price.
on the sensor rod. For further information, please contact
The electronics for control, sensor signals conversion etc. are all build
into one box, which is connected via a standard interface available on any Jesper Evald
computer. Kasernenstr. 9
D 5300 Bonn 1
FRG.

Telph. international: + 49 228 639856

 as
F»MMI C-^i-. 9 > 3
THE FLUTES OF ROBERT AND WILLEM WIJNE M.C.J, _ov.te.rse

A- Seven baroque transverse flutes with the mark "R.WIJNE" and one with the mark
"W.WIJNE" survived in several collections; there are also three recorders and
two oboes by R.WIJNE, and one bassoon and one rackett by W.Wyne. One recorder
and the rackett are also stamped "NIJMEGEN". Nijmegen (in english "Nymwegen") is
an old town in the Netherlands, not far from the border with Germany.
Archives tell us that the flute-maker Robert Wijne (1698-1774) lived in Nijmegen
and there is no doubt that the instruments stamped R.Wijne were made by this
Robert Wijne- W.Wijne is more problematical: the same archives in Nijmegen tell
us that Robert had eight children, two of them were flute-makers too and among
them Johannes Wijne (1743-1807, no instruments are found) and Wilhelmus Wijne
(1730-1816). The problem is that the rackett looks like an instrument from the
beginning of the 18th or even from the end of the 17th century. About the
bassoon there is some confusion: some people think the instrument is early, some
that it is later. To solve these problems an uncle is invented, elder than
Robert who could have made the two -beautifully made- instruments. No question
that the father of Robert could be the maker, his name was "Hendrik".
But, there are no records in the archives of an uncle with the name W.Wijne
and with the discovery of the transverse flute there are strong indications that
the son Wilhelmus (short: "Willem") could be the maker as well. About the
spelling of the name "Wijne": Wijne and Wyne are both possible in the dutch
language. The "ij" is in modern dutch common, is in fact one character on dutch
typewriters. The "y" occurs only in old-dutch and foreign names and words.

HP RHP

SL
ID Di» _? I B
L-
L SL
LtU
J
J
LHP FP

L Pi F_ *1
_nUtlJ
_S=B
- t» -I L...L
L _L . . J '

B- Seven transverse flutes by one maker give us the opportunity to compare the
instruments; what are the differences and similarities, what was the'importance
of Robert Wyne in the Netherlands or even in Europe. A short description of the
instruments, all baroque transverse flutes with one key for d-sharp and in four
pieces:

1- flute in african blackwood, ivory rings, silver key. Flute plays at a= 405-
410 Hz. Haags Gemeentemuseum, The Hague, Netherlands.
2- flute in ivory, key not original, cap missing. A new mouthhole is made lower
on the head, the old mouthhole seems to be enlarged. The LHP is shortenend,
perhaps on both the upper and lower side. Haags Gemeentemuseum, The Hague,
Netherlands.
3- flute in boxwood, ivory rings, silver key, three exchangeable centerpieces.
The longest plays very well with a pitch at about a-405 Hz, the middlepiece
plays rather good at about 410-415 (the flute is with this middelpiece perfectly
divided in a golden section) and the shortest at about 430-440 (with many bad
tones). The difference in length between the centerpieces is rather great.
Private collection, Netherlands.
4- flute in boxwood, ivory rings, brass key. A part of the RHP is new after a
restauration. The flute doesn't play at the moment. Museum "Commanderie van St.
3o

Jan", Nijmegen, Netherlands.

5- flute in fruitwood, no rings (except one ring from horn, a restauration on
the headpiece), brass key engraved with a tulip. The LHP has a broken tennon,
the flute doesn't play on the moment. Collection Ehrenfeld, Utrecht, Netherlands.
6- flute in fruitwood, head missing, found in an old refuse pit in Delft. No
rings, key silver(?). Collection Ton Stolk, Vlaardingen, Netherlands.
The instrument is in very bad condition, many cracks.
7- flute in boxwood, bone rings, brass key. A new mouthhole is made lower on
the head. The old mouthhole is enlarged to plug it with a piece of cork.
Museum "Oud-Ede", Ede, Netherlands.
The flutes 1 and 3 are playable, the other flutes have problems due to cracks
and broken tenons. The flutes 1, 3, 4 and 5 have original mouthholes. All flutes
are stamped "R.WIJNE", with a crown above and a double headed eagle (from the
arms of Nijmegen) below. Some instruments show an asterix on the front or on the
backside of some of the pieces.

The diversity in performance is striking: ivory, blackwood, boxwood, fruit-

wood, ivory and bone rings, no rings, silver and brass keys. Also striking are
the similarities:
- original mouthholes are small, round (8.5 mm or less) or slightly oval (8.0 x
8.6).
- the bore of the HP's is always cylindrical, 19.4 (flute 1 and 2), 19-3 (3),
19.0-19.1 (4,7) or 18.8 (7). These differences perhaps due to differences in
shrinking of the various materials.
- the bore of the other pieces is doesn't vary much: 19.0 to 15.5 (15.0) for the
LHP's, 15.5 to 13-0 for the LHP's; the FP's show more variation, with a bore
widening from 13-3 up to 14 or 15 mm.
- wallthickness: rather thin: 28.5 to 28.9 for the outside-diameter on the place
of the mouthhole.
- fingerholes are all undercut, hole 6 only slight, the holes on the ivory flute
more heavy. The undercutting is straight and simple, without the more complica-
ted or sophisticated shapes in flutes from the late 18th century (Grenser etc.).
- there are two cap-forms, see drawing. No indications of screw-corks.
- the keys: all of the same shape; the springs are attached in the groove, not
riveted on the key.
- all ivory (or bone) rings are broad, and include the maximum-diameter of the
flute-pieces.
- the place of the mouthholes is rather high on the head-pieces; but there is a
great variation on the flutes in this point.
- the RHP's are almost the same length, sounding length is about 141 mm.
The longest flute (7) has a shorter RHP!
- the flutes that play well give an good pure sound, speak easily, even in the
third register (also f-3), a good intonation but not very loud.
- the pitch of the instruments: most of the instruments play at a-410 or slight-
ly lower. Two instruments (7 and 3 with the longest centerpiece) play even lower
(a- 400-405). Two instruments (3 with the shortest centerpiece and 2) play
higher, a-430 or even more but not very satisfactorily.
- about the turnery: good work, sometimes very delicate, good details but not
very original or exciting. The bore of most flute-pieces is very smooth, mouth-
and finger- holes very well made.
In spite of the similarities no flute has exactly the same length or the
same bore: perhaps due to individual tuning and intonating, or due to the
different ages of the flutes.
Most characteristics points to early flutes, made before 1750. Robert Wijne
could have made flutes between 1718 and 1760, so the flutes are indeed early
four-part flutes or flutes made in an old-fashioned way. There are no indica-
tions that the flutes are forgeries. I don't believe that Robert Wijne was
an old-fashioned man, for he made an oboe in c (private collection) with many
modern features: the outside-shape, the bore an fingerholes are not like the
oboes of Rijkels and Richters but show late-baroque details. The other oboe,
 31

the tenor-instrument in f from The Hague (Gemeentemuseum) is quite different

and has many details of an early instrument.

C- There are some differences between the instruments. We have to consider the
following points:

- Ivory should shrink less than most woods. Perhaps true, but the bore of flute
2 (in ivory) is now quite oval in some pieces, ands ovality points to shrinking.
The bore is not wider than the bores of the wooden flutes, the walls on the
flute are thinner, the undercutting is more distinct.
- Flute 5 has a smaller head-bore. Perhaps the fruit-wood was less stable than
the other harder woods, but the bore is very regular and lower on the instrument
(RHP and FP) not smaller than the bores of other flutes. In the RHP one place in
the bore (between hole 5 and 6) is wider and less conical than on the other
flutes. Perhaps a correction with an other reamer? But: the FP of the same flute
is reamed out with the same reamer and shows the same shape! Therefore I think
that flute 5 was made with different tools.
- It is very difficult to estimate shrinking of the various woods. How dry was
the wood when used by the flutemaker. And too: is the flute after a while by the
maker corrigated with the same reamer. We know that most shrinking is in the
beginning and extra-reaming in that time is very effective to get back the
original characteristics of the instrument. But modern researchers will have
even more problems to find out the differences between the original and the
present dimensions.
- I think that Wijne made the RHP's with only one reamer (not always the same
reamer) and that he made corrections while intonating and tuning just in the FP
(he reamed out the FP's from the end or from the end and the beginning) and
-perhaps- also the LHP. Only in one flute (1) the RHP is reamed extra, from the
beginning to hole 4.
- There are two instruments with bores that are perhaps reamed out with a RHP-
flute reamer: the recorder in g (The Hague, Gemeentemuseum) in the middlepiece
(15.4 to 13.0 mm over a length of 135 mm) and the oboe in c from the private
collection. The recorder and the oboe are longer, the bores of the two instru-
ments continue in a different way, I think that Wijne had seperate reamers for
the section below 13-0 mm. Other possible bore-congruences: the LHP of flute 1
and a part of the tenoroboe in f (middle-piece), and (from Peter van der Poel
who discovered this) the sopranorecorder (collection Frans Bruggen, Amsterdam)
middlepiece and the same tenoroboe in f, headpiece. But: the tenoroboe is a very
difficult instrument to play in tune, perhaps it was a bad instrument. It is
interesting to see the same bore-dimensions in different instruments. It shows
that Wijne (and perhaps other makers) didn't always design a new instru- ment
with new reamers, but tried to save time and money using existing reamers. I
think that this triaail-and-error method resulted sometimes in bad or "diffi-
cult" instruments.

D- What are the relations between the Wijne-flutes and other dutch flutes. We
can compare three different points:

a- details in turnery, keys, etc. All of them of little of no importance for the
sound of the instrument but subject to fashion and thus useful1 for dating and
comparising. The details of the flutes by Robert Wijne are not obvious: we find
many features on other flutes by makers in the whole 18-th century,
b- "technical"-details in shape of mouthhole, undercutting, screwcork etc,
usually important for the sound of the instrument. Also the pitch, the possibi-
lity to play some difficult notes, and fingering. Mostly very usefull details,
especially if the flutes can be dated. The flutes of Robert Wijne are showing
few or no of that kind of technical details.
c- the design of the bore of the instrument, wallthickness, place of the finger-
holes. It should be the most important fact in comparison, but most historians
in art have no experience with this point. During my activities as flute-maker
32.

I have seen many instruments or their drawings and I am grewing more and more
cautious to give conclusions about bore-history. I think many differences are
accidently, due to the accuracy of reainer-___king etc. Nevertheless this point c
is the most important one in the Wijne-research.

We know that several dutch makers made transverse-flutes, but from some of them
we have only flutes d'amour (Haka) or bass-flutes (Beuker). From Terton and Van
Heerde very few instruments are left, and they show many different details.
Other dutch transverse-flute makers: Hemsing, Borkens, Beukers. I see more rela-
tion to instruments of Frederich Eerens (from Utrecht, also one of the few
makers who didn't live in Amsterdam): about the same bore, a small mouthhole
etc. I cannot say that there was a strong tradition in Amsterdam in transverse-
flute making (flutes in d ) , this in contrary with the oboe-making.
Robert Wijne was in the Netherlands one of the more important flute-makers, I
conclude from the homogenuous quality of the surviving instruments, the relative
great number and the variation in performance of these flutes

I couldn't discover flute-makers between 1700 and 1750 in the north-western

parts of Germany, close to Nijmegen. I can see some relations with early
four-part instruments by J.Denner (Nurnberg, Germanisches National Museum) and
Naust (private collection, Netherlands). But I cannot prove these relations, I
think there were many commercial contacts also in musical instruments within
Europe those days. There were influences from France to Germany, to England, via
England or Germany to Holland and perhaps also direct to Holland. But it is
still obscure where Robert Wijne learned the job of flute-making: perhaps he was
a self-taught man

E— The transverse flute by W.Wijne is made in boxwood, ivory rings, silver key,
with a screwcork-mechanism and three exchangeable centerpieces. These pieces
play well, all of them, the difference in length between the pieces is smaller
than the pieces on flute 3 by Robert Wijne. The flute can be seen in Albstadt
Lautlingen, Western Germany, in "Schloss Lautlingen". We found some differences
with the flutes of R.Wijne:

- the bore is in every piece 0.1 to 0.3 nm wider, in all places.

- the wall of the all pieces is thicker (30.0 outside diameter near the mouth-
hole).
- the mouthhole is slightly bigger, with 8.5 x 9-0 mm almost round.
- the pitch with the three centerpieces: a= 410, 418 and 425 Hz.
- the turnery: smoother, small ivory rings, key is more simple. The cap is
strange: in wood and ivory.
- the design of the bore of the centerpieces differs from the centerpieces of
flute 3 by Robert Wijne. Robert Wijne: about the same borediameter on respecti-
vely the place of fingerholes 1, 2 and 3. (In fact: 17-3, 17.0 and 16.4 mm).
Willem Wijne: shorter centerpieces with narrower bores but with about the same
conicity.
Most features (and I think the most important) point to a later (after 1750)
instrument than the flutes of Robert Wijne. Only the wider bore is perhaps
puzzling, the mouthhole is conservative too. The instrument is well-made,
convincing in its design and needs only a small restauration to get it in
perfect condition.
I believe that W.Wijne was the son of Robert Wijne, I believe that he was a very
good woodwindmaker. For a person who lived over 80 years it is astonishing that
only 3 instruments survived I think that it is good that some research is
done on the age of the bassoon and rackett. The rackett is in Berlin (see page
190 in Langwill's Index), the bassoon in The Hague (Haags Gemeentemuseum).

Drawings from flute 1 by R.Wyne can be bought at the "Haags Gemeentemuseum"

Stadhouderslaan 41, Postbus 72, 2501 CB Den Haag, Netherlands. Price: about 10
 33

pounds. Please mention "Technical drawings musical instruments" on your order. I

have made some drawings too: flute 3» flute 7 , in one drawing flute 4, 5 and 6,
and the flute by W.Wijne. I have also a drawing o f the oboe by R.Wijne. I'll
send you the drawings only after receiving a post-office order. Prices: 15 dutch
guilders (about 5 english pounds) for each drawing. My adress: M.C.J.Bouterse,
Sandenburg 69, 2402 RJ Alphen a/d Rijn, Netherlands. It is also possible to
exchange drawings, I am allways interested in measurements o f dutch recorders,
oboes and transverse flutes. Write me for information.

/ /j<v«y

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fluted 3
lVC*~j
WUbjnc.: HP

Cap
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Coups
flute. jflote-s-
3
3*
MEASUREMENTS

1 8(W.WIJNE)

HP:L 238.5 - 224 234.2 236.5 232 235.5

SL 174 177.5 160.5 224 228 218 224

LHP:SL 153-5 122 180 152 151.5 156.5 166 160

t1 27.5 24. 26.5 26.2 28.2 26.0 27.2 25.5
t2 22.5 21 21.8 22 22.5 21.5 20.5 21.5
F1 59 39. 80 59 58 62 70 66
F2 96.5 75 116.5 96 95 99.5 107 102.5
F3 134.5 111 155.5 133.5 133 137.5 144.5 141
Measurements are taken from the longest centerpieces of flute 3 and 8 (W.Wijne)

RHP:SL 141 141.5 141. 141.5 141.5 141 137 142

t1 18 15.5 16. 15.3 16 17-3 15
F4 44 43 42. 44 44 43.5 42.5 42.5
F5 80. 80 79. 81 79 80 80 79.5
F6 118 117.5 116 118 117 117 117.2 117

FP:SL 98 96 97 96.7 96 96.5 98 94

F7 36 34 35 35 34.5 34.5 39 34.5

SOME BORE-MEASUREMENTS

HP: 19-4(5) 19-0(5) 19-3 19.1 18.8 19-1 19.5(6)

LHP:
beginning 19.2 18.5 19.0 19. 18.0 19-0 19.5
at F1 17.5 17.0 17.3 17. 17.2 17.2 17.6 17.8
F2 17.0 16.6 17-0 16. 16.8 16.9 16.9 17.2
F3 16.4 16.0 16.4 16. 16.4 16.5 16.3 16.6
at end 15.6 15.4 15.0 15. 15.0 15.5 15.0 15.5

RHP:
beginning 15.6 15.3 15.3 15.3 15.2 15.4 15.2 15.8
at F4 15-3 15.2 15.2 15.1 14.9 15.2 15.0 15.4
F5 14.7 14.7 14.7 14.7 14. 14.7 14.4 15.0
F6 14.2 14.1 14.1 14.2 14. 13-9 13.6 14.2
end 13.1 12.8 12.8 13.0 13. 13-0 12.3 13.1

FP:
beginning 13-6 13.3 13-2 13.8 13-1 13-6 13 ,8 13-4
narrowest 13-3 13.3 13-2 13-4 13.1 13.6 13 .4 13.4
end 14.5 14.5 14.4 14.4 14.5 15.0 14 .0 14.6

Diameters
Mouthhole 8.1 8.7 8.2 8.0 8.0 8.6
x8.1 x10. 5 x8.5 x8.6 x8.6 x9.0
F1 6.6(8) 6 5(10) 6.9(14) 6.7(9) 6.7(12) 6.7(15) 6 9(14) 6.4(6)
F2 6.2(5) 6.5 6.6(12) 6.2(3) 6.3(10) 6.8(15) 6.3(8) 6.2(3)
F3 5.8(9) 5.7 6.0(3) 5.9(19) 6.1(2) 6.5(10) .1(7) 5.1(7)
F4 6.1(2) 6.2(5) 6.6(10) 6.0(2) 6.2(7) 6.7(10) .6 6.0(2)
F5 6.2(4) 6.2(4) 8 6.1(3) 6.2(7) 6.5(8) • 3 5.8(12)
F6 5.0 5.0(2) 2(3) 4.6(8) 5.0(2) 5.5 .0(3) 5.0
F7 7-3 7.6(7) 3 6.8(10) 6.0(1) .5 7.7(10)
5-6(8) means: 5 6x5.8
6.7(12) means: 6.7x7.2 Measurements not given for making copies, but for
a brief impression of the instruments.
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FoMRHI Comm. 914 R. K. Lee

Observations on the Wear of Two Keyboards Separated by 200 Years

In the early 1970's, I undertook the restoration of a virginals

made by Ferandi Rossi in 1597. This instrument belongs to the
Robert and Dorothy Rosenbaum collection in Scarsdale New York.
Because of the recent death of Robert Rosenbaum, and the
consequent further delay in the publication of his catalog, I am
describing here some of my observations of this instrument which
were to have been included in that catalog.

The Rossi instrument was made in Milan. Ferandi Rossi was the
son of Annibale Rossi. Together, the father and son made a
number of virginals between 1542 and 1597 which are consistent in
design (with the exception of the 1542 instrument). The most
magnificent example of their work is the familiar jewelled
instrument in the Victoria and Albert Museum that is dated 1577.
An instrument of related design is the 1562 virginals in Milan's
Civic Museum made by "B.ctus Floriani". The earliest Rossi of
the recessed keyboard polygonal form is the 1555 instrument that
is also in the Victoria and Albert Museum. The Rossis,
therefore, flourished in the second half of the 16th Century, and
produced virginals of outstanding workmanship and
sophistication.

The 1597 instrument was additionally remarkable because of the

large amount of wear that existed in the rather thick boxwood and
ebony key coverings that were used (naturals and sharps). It
occurred to me that the large amount of use of an early keyboard
might be a useful guide to establishing the authenticity of a
keyboard; i.e., determining if keytops had been moved or
transposed from their usual positions, perhaps taken from another
instrument as I suspect some Italian workmen of doing.

Tribology is the science of wear of one material on the other

caused by relative motion, two body wear (a file or scraper on
wood); and there is also three body wear which describes the wear
caused by a free abrasive between two solid bodies (sand between
a lap and a piece of glass). In general, the amount of wear is
proportional to the force exerted between the bodies and the
distance travelled over any area. In this paper, we consider the
wear produced by fingers on the material of the keyboard. The
depth of wear is proportional to the amount of force used and the
number of times that the key is attacked by a finger or
fingernail. The distribution of the observed wear patterns tells
us directly how often the key was used in playing upon the
keyboard. The location of the wear can tell us which fingers
were used most and where. The wear at the front is caused by
thumb or little finger use; the wear in the key center indicates
second, fourth, or possibly little finger use; and finally, wear
further back indicates third finger use.
38

Wear can be fairly easily measured on antique keyboards which

usually have wood key coverings. I use a machinist's depth
micrometer which allows measurements to less than 25 micrometers
resolution. If we assume that keyboards were made flat to begin
with, deviations from flatness can be attributed to key use. The
deviations occasioned by reasonably good workmanship are
generally much less than 25 micrometers. In making the
observations, I rest the crosspiece of the micrometer on a flat
appearing part of the key and measure the maxiumum depth of the
depression. On the front edges of the key, the micrometer probe
can be lined up visually with the low part of the edge wear that
is visible, but with less accuracy than the pits in the middles
of keytops.

Figure 1 shows the wear observations taken from the Rossi

virginals. The wear observations were taken in inches which we
still use in this country (as well as because of my micrometer
being inherited from the 1930's). The location of the thumb wear
pattern is shown as left, center, or right on the front edge of
the keytop; the amount of thumb wear is indicated on the lower
histogram. The finger wear was measureable on both sharps and
flats. Because of complexity in drawing, I did not report the
coordinates of the deepest wear patterns which could tell us more
about third finger use.

Figure 1
Wear Observations Taken from the Ferandi Rossi Keyboard of 1597

^^^
l^
l^^
l^
l^
l^
lf
C / E - f " , 50 notes
.IS-

fivnituetr
CtnUruy

The patterns show static two hand use; i.e. two maxima exist at g
and (_''. Front edge wear tells us about hand placement. Maximum
thumb use occurs on d', which could be either hand. Measurable
front edge wear disappears at g''; however, a little change in
profile was observed on e''' presumably cause by little finger
 39

action. Measurable center wear occured on keys as high as b'*,

c''', and d'1'. Wear presumably from the little finger can be
observed on the front edges of C, E, G, A, B, and c; much more
wear occurs relatively on d. Presumably the escalation in wear
beginning on g is that due to the left thumb. The most
frequently used chromatic was d'#

For comparison, I conducted the same observations on my own

Johannes Petrus Bull harpsichord which was made in Antwerp in
1778; this is a very large two manual harpsichord equipped with
8'8* 1* on the lower, dogleg 8' and lute on the upper the same as
an English harpsichord; the dogleg is also fitted with a second
left facing tongue for a peau de bufle which can be engaged by a
machine stop or handstop; in addition it was once fitted with a
damper bar that worked from a knee lever. Its keyboard is made
of bone with ebony naturals, so the amount of wear because of the
harder naturals is less; in order to make the comparison more
easily visible, 1 have exaggerated the scale of the wear
measurements by five times in Figure 2.

Figure 2
Wear Observations Taken from the J. P. Bull Keyboard of 1778
FF-f' " , 6 1 notes

I IIIIIDIHIHfflfl y
antBcy

ll:
<§5

••ilFini 1 "!

The maximum central wear in the bass occurs on a, while the

maximum in the treble occurs on d''; some change in frequency of
use caused the left hand to move from g (Rossi) to a (Bull) in
comparing the two instruments. Maximum thumb use occurs on g', a
fifth higher than on the Rossi. Front wear extends to C, becomes
observable at F, escalates somewhat at d and much more at g the
same as the Rossi. In the treble, front edge wear is observable
all the way to ('''. The most frequently used chromatic was
either f'#, c " # , or f"# (small wear differences). The Bull
harpsichord was in use presumably at least until 1857 (a date
Ao

found on the lid by a repairman H. Bodeman); I have played upon

it myself as long as it was used in the 18th Century (it saw
little use in this century because of the decrepit condition in
which I found it). I have not yet found a piano with ivories
that compares in the amount of wear with either of these two
instruments; presumably ivory is more durable than bone.

We can conclude that the frequency of use of keys has not changed
much between 1597 and 1857 (plus 1968-1988). Thumbs were always
in use as well as little fingers. There seems to be a change in
tonality to a higher testatura in the case of the Bull
harpsichord. The wear on the upper manual of the Bull was not
observable by comparison with the substantial wear showing on the
lower manual; this suggests little use of the Lute stop (Nazard)
or the solo 8'.

I made a very limited investigation into the frequency of key use

in a few periods. The observations were limited because they
were very tedious to compile on my computer; what is needed is a
set of microswitches and counters connected to a keyboard so that
one can merely play the piece of music in order to obtain a
histogram of the music.

Figure 3 shows histograms compiled from hopefully typical pieces

by Girolamo Frescobaldi and Telemann. Observe that the
Frescobaldi shows little handedness compared to the wear on both
harpsichords; the Telemann histogram by contrast shows a marked
handedness as well as a maximum note use on d''. From these, I
tentatively conclude that both instruments saw their most
frequent use in the later 17th Century and the 18th Century; if I
had more thoroughly compiled statistics, I could make a stronger
case for this conclusion.

Figure 3
Histograms of Music by Frescobaldi and Telemann
(Rossi numbering)

f+eito&aZcC*
Cm^rr-cc^coSbpr^^ Z'Ar*a\ 7w uf *•_-» ""--_

lo- *mf js**y efo

"Sat"

O-S-
-

_flfl_
I t <• ** ». n
.j_L
* v a I
ift 1 _ .
S /•
1
13 U
R'.z.'
es to
-
Jf
f-1
 4-1

Comm. 9i5 Berthold Neumann

No Percussion in more part Renaissance dance music

Jeremy Montagu asks in Comm. 887 which different dance
rhythms might have been drummed in Renaissance dance
music. He complains about the rare evidences on this
matter in the contemporary literature, though he assumes
that iconography supports the use of percussion in dance
music of that time.
I myself undertook research on the application of
percussion in Renaissance dance music some years ago. I
found some hints on military rhythms (i.e. Arbeau,
Mersenne) but none on dance rhythms (with the exception of
Arbeau, who refers for didactical reasons to the even in
his time oldfashioned combination of pipe and tabor to
explain the concordance of dance rhythms and dance steps).
Screening a lot of contemporary iconography and other
sources I had to conclude that there is not one serious
evidence for the use of percussion in more part
Renaissance dance music. On the contrary, there are direct
(Virdung, Praetorius) and mediate (Mersenne) indications
that percussion should not be used in music. I invite
everybody to show any contradicting evidences to me and I
promise to give a comprehensible explanation according to
my findings.
Regarding the fact that nearly no instrumental group
playing Renaissance dance music today dares to renounce
the sensational application of percussion, I think my
finding itself is challenging.
The earliest expressive description of how to use side
drums and all kind of percussion in Renaissance dance
music I found in F.J. Giesbert's preface to his edition of
Tielman Susato's "Derde musyck boexken...1551" (which he
called "Danserye") in 1936. This shows clearly that the
use of percussion in more part Renaissance is an invention
of our century, only being possible after Jazz, Dalcroze
and Orff. Adding a carpet of drum beatings to the music of
Attaingnant, Moderne, Gervaise, Mainerio, Praetorius,
Dowland, Brade, and others means a modern arrangement and
not historical practice, even if historically
reconstructed percussion is used.

Having published my findings elsewhere (CONCERTO 1985,

Vol.2, Heft 2, Febr./March 1985, pages 21 to 28) I only
want to mention here the following points.
My findings lead me to speculative consequences to explain
comprehensively the evolution of dance music in the 15th
and 16th century:
41

Drums were used in dance music until the 15th century in

combination with a melody instrument, usually the
three-hole-pipe or another member of the flute family. I
assume that the drum had to produce the drone and that the
combination of pipe and tabor shared the same repertoire
of tunes and dances as bagpipe, hurdy-gurdy, and Jew's
harp. The importance of rhythm then was not so essential
as in our modern understanding, it could be removed as in
the case of the bagpipe. When round 1500 middle and upper
classes changed over to more part dance music the
combination of flute and side-drum came out ot use. By the
way, there was a short time when flute and drum were used
parallel to the more voiced ensembles, but never together.
The Renaissance dance music needs additional effects like
drumming, multifarious instrumentation, and extreme
variety of tempo only when played in a modern concert
situation. The presence of dancers immediately changes the
character of the dance music: there is a new fluency, the
dances get more different characters, interesting
interferences between dance rhythm and steps can be seen.
One doesn't feel the necessity of drums.
If percussion is used with dance music of the Praetorius
time, the question arouses in which epoche drumming came
out of use. Is it still allowed in the suites of Schein,
or even in later baroque dance music? Where is the correct
threshold? Following my suggestion that the drum was the
drone in the combination with flute, it consequently
disappeared from dance music of higher classes in the
beginning of the 16th century because it was repugnant to
the new changing harmonies. The later use of the drum then
was restricted to dance music of the lower classes (like
bagpipe and hurdy-gurdy) and also to military and nautical
signalling..

My statements on use of drums have some organological

implications: Presuming the drum serves as drone it has to
be tuned to a definite pitch. This is opposite to modern
meaning, but Mersenne and Anasthasius Kircher describe
exactly the relation of pitch and volume of the drum.
And the snares, today neglected, are described by Mersenne
als tunable. The development of sometimes complicate
tuning devices for snares as they can be seen e.g. in the
Praetorius pictures, only make sense if they really were
used. They help to maintain the tone between the strokes
of the drum. They make virtuoso drumming impossible and
are thus switched off by most performers today.
Today we know fairly well how historical percussion was
constructed, but it seems to be still a future task to
discover how it was played.
 43

FoMRHI Comm. 916 Ephraim Segerman

RHETORIC FOR THE VOICE AND INSTRUMENTS

A declamatory type of singing imitating the rhetoric of an orator seems to have been the
dominant style in European courtly music till well into the baroque (surviving much later in
France than in Italy). In this style emotion is expressed primarily by the meaning of the
words and secondarily through expressive rendering of individual words. This is opposed to
another tradition in European music where the vocalization is supposed to express emotion
directly, being sustained ornate renderings of sighs, sobs, cries, groans, chokings, etc.,
with the words being quite subsidiary. This l a t t e r tradition could well have entered Europe
with Moorish music in Spain (surviving in Flamenco singing today). I t s use in Monteverdi's
'Lamento d'Arianna' became very popular and subsequently it became a standard feature in
Italian opera. By the 18th century this shift of emotional expression from full words to
vowels led to a standard swelling type of note production called 'messa di voce' for both
voices and instruments. Modern vocal and instrumental style is strongly influenced by this
tradition, with the emphasis on the vowels shifted from vocal agility and expressive variety
to accuracy and a powerful and beautiful tone. The long modern musical phrase seems to be
another remnant of this tradition.

The rhetorical manner of speech is rarely heard nowadays because it seems ludicrously
exaggerated and unnatural. A mild version of it can sometimes be heard from the
ecclesiastic pulpit. The intention of rhetoric is for both the text and the delivery to
fascinate by their conviction, to delight by their elegance, and to persuade by their cogency.

Following is a primer intended to help vocalists and instrumentalists who are interested in
exploring the rhetorical style a s I understand it. Since it is very difficult to reject
influence by modern style and i t s s a t e l l i t e , early-music style, each step should be mastered
thoroughly before going on to the next. Avoid subtlety - it is a refinement for the more
advanced practitioner. Practice privately to avoid the embarrassment of ridicule. Since the
articulation is so different from that expected in any 'serious' music nowadays, when the
style is mastered, don't expect instant approval from audiences or critics.

(1) A Provisional Primer for Declamatory Singing

A. Recite the verse in a rhetorical manner. Clear enunciation is essential, with strong
consonants. To be clear in disadvantageous acoustic environments, the delivery is
considerably slower than in conversation. Appropriate spaces between words, phrases and
sentences (or lines) are important both for clarity of delivery and for getting the points
across. A large dynamic range of the voice is used, with important words or syllables often
considerably louder than unimportant ones. Make note of the important words deserving
emphasis. There is usually at least one such word in each verbal phrase.

B. Recite the verse again, but in the time uf the note values given in the music. Try to
maintain as much as possible of the rhetorical manner as in A. When there is melisma
(multiple notes for the same syllable) repeat the vowel for each note, but consider whether
repeating the whole syllable, word or preceding words could be more convincing. Pick a
tempo that does not rush any word or syllable. When a syllable has more time than in A.
above, do not lengthen the vowel to fill more of the time unless it is followed by another
syllable of the same word, or it is part of an important word. If the time values do not
provide adequate space at the end of a phrase or line, consider breaking time to provide i t .

C. Repeat B. with singing instead of reciting, keeping the same verbalization as much a s
possible. Contrary to modern singing habits, one should be
a) keeping consonants strong with extra strength at the beginnings of important words!
if these words s t a r t with a vowel, s t a r t it explosively (as pronounced when repeated
quickly),
b) ending notes before the ends of the written note values to provide space between
44

words, more space between verbal phrases, and more space yet between verbal lines or
sentences', breathe frequently in these spaces,
c) not extending the length of a vowel unless the following note is part of the same word
or it is part of an important word.

D. Repeat C. but apply the various musical conventions*

a) use gracing for emphasis, substituting for much or all of the loudness in reciting
important wordsj thus a long important word is usually given one of the wide variety of
shaked graces on its vowel, and a short important word is given a short grace such as a
short shake, mordent, appoggiatura or turn,
b) decorate cadences,
c) treat strings of notes of equal written value with alternating emphasis in loudness
and/or time (dotted rhythms),
d) replace some gracing by d i v i s i o n in happier pieces t o give the music movement without
quickening the tempo.

E. When various voices are performing together, simultaneous gracing or division is

avoided unless w e l l prepared. Simultaneous w r i t t e n notes can be decorated by d i f f e r e n t
voices in tandem. Mixing slow and f a s t division or shaking could also work. Emphasis on
important words is given by loudness in voices not decorating, When there is more than one
voice to a part, only one decorates (leading to heterophony).

(II) A Provisional Primer for Instrumental Style I m i t a t i n g Declamatory Singing

A. I d e n t i f y the sequence of points in the music. Each point (in modern terminology i t is
called the 'motive') contains from a few up to perhaps a dozen notes of the basic melody.
The point corresponds w i t h the verbal phrase. Imagine the music being sung in the
declamatory s t y l e outlined in (I) above. Mark adjacent notes t h a t could be syllables of the
same word and thus would be t i e d , and the important syllables or words in each point that
would be emphasized by increased loudness, gracing or d i v i s i o n .

B. Starting notes! Notes are usually begun percussively, i m i t a t i n g a s t a r t i n g consonant.

Plucked and percussion instruments naturally provide the required note beginning. Wind
instruments emphasize the tongueing s y l l a b l e s . Bowed instruments hit the s t r i n g from the
bow in an o f f - s t r i n g position or, w i t h the bow on the s t r i n g , s t a r t notes w i t h a f l i c k of the
w r i s t and/or w i t h an increased bow pressure affected by the fingers either on the stick or
on the hair. Emphasis is enhanced for important notes w i t h a short grace at the beginning.

C. Ending notes! The notes, for a l l i n t e n t s and purposes usually end before the next note
s t a r t s , leaving the required space between words, phrases (points) and lines or sentences
(strains). On bowed instruments the bow can be stopped on the s t r i n g (damping further
sound) or (more usually) l i f t e d o f f the string w i t h a residual dying away of the sound. On
less sustaining plucked instruments l i k e the l u t e , the note just dies away (and one should
not l i f t the fingering finger prematurely). On more sustaining plucked instruments like the
harpsichord, the key is released, damping the s t r i n g before the next key is depressed.
There is a tendency to t i e chordally-related succeeding notes in keyboard and fingerboard
instruments and l e t them overlap to add to the harmonic resonance. On wind instruments
the note can be made to die away as on a l u t e or stop f a i r l y abruptly as on a harpsichord!
breathe f r e q u e n t l y .

D. The main body of an unimportant note is either plain and cut short or dies away. That of
an important note i s sustained, either louder w i t h an i n t e r e s t i n g shape or shaked for
emphasis.

E. Musical conventions (besides the gracing mentioned above) are observed. These are
mentioned in (I)D. and (I)E. above.
 45

FoMRHI C o m m . 917 Remy GUG

THE BIRMINGHAM WIRE GAUGE and ITS MUSICAL SISTERS ...

The first half of the 19th century was a period of g r e a t

efforts of s t a n d a r d i z a t i o n in many fields of the techniques of that
time. Rationalization of production could no longer use the old ways
of thinking: among o t h e r s , the g r e a t variety of s y s t e m s of
m e a s u r e m e n t existing in early t i m e s was not c o m p a t i b l e with the
"new" manner of working. Everywhere it was felt necessary to find a
universal system expressed in units understandable by those involved
in the processes of production.
An e x a m p l e of this phenomenon, with very i n t e r e s t i n g
repercussions for us today, is found in a technical work published
during the years 1846 - 1850 by Charles Holzapffel. The t h r e e
volumes, e n t i t l e d "Turning and mechanical manipulations" deal with
metal-working technology. In his c h a p t e r devoted to " R e c t i l i n e a r
Saws" and to "Circular Saws", Charles Holzapffel, after having raised
the problem of the systems of measurement deals with the
interesting question of gauges. He w r i t e s : "In s e t t i n g out the tables
of the Dimensions of Saws, the author could only express their
several thicknesses, in the measure always employed for that
purpose, namely in the sizes or numbers of the "Birmingham wire
gage (sic)", and to render these measures intelligible to the general
reader, the author d e t e r m i n e d to introduce in this Appendix, the
e x a c t values of the principal gages in use for sheet m e t a l s and
wires, a subject he believes to have been h i t h e r t o overlooked; and
secondly, a proposal he has long desired to see carried out, namely,
an easy and e x a c t system of gages for sheet m e t a l s , wires, and
general purposes, founded on the decimal division of an inch; and in
which s y s t e m , the n o m e n c l a t u r e should be so completely associated
with the a c t u a l m e a s u r e s , as to convey to the mind, even in the
absence of the gages t h e m s e l v e s , a very close idea of the several
spaces of the gage, or of the thicknesses or sizes of the works
measured t h e r e b y . " < 1 , p. 1 0 1 I >
This t e x t was w r i t t e n during the period ranging from 1840
to 1860, when it b e c a m e more and more obvious to w i r e - m a k e r s that
measuring with g a u g e - p l a t e s is no real m e a s u r e m e n t . As I pointed
out elsewhere <2, p.l3>, gauges are a very easy means of
classification. Gauge numbers define classes of thickness, not
d i a m e t e r values. These l a t t e r are only "precisely defined" when
expressed in a measuring unit, in Holzapffel's c a s e , in the "decimal
division of an inch".
Charles Holzapffel was sure that the system he proposed
in 1846 would have a universal c h a r a c t e r for all p a r t s of his
country, since P a r l i a m e n t did i n s t i t u t e in 1824 the (modern) English
Yard (and its subdivisions) as the only valuable measuring s y s t e m . < 3 ,
p.97>

Before looking at t h e general table published in t h e work

in question let us hear the two subsidiary r e m a r k s made by
Holzapffel:
46

a. " I t should be f u r t h e r observed t h a t the B i r m i n g h a m and

other gages seem to have been originated in great measure
a c c i d e n t a l l y , or a l m o s t by the eye alone, and w i t h o u t any a t t e m p t at
s y s t e m , e i t h e r as regards the values of the i n t e r v a l s between the
successive measures or numbers, or their correspondence with
subdivisions of the inch."<1, p.!012>. Maybe this s i t u a t i o n was
c o r r e c t for B i r m i n g h a m . N e v e r t h e l e s s , we know t h a t in N u r e m b e r g
things did not happen as " a c c i d e n t a l l y " as H o l z a p f f e l supposed. In the
F r a n c o n i a n t o w n , gauge numbers were d i r e c t l y c o n n e c t e d to the
"length-weight" system and the art of making gauge-plates or
gauge-rings had reached t h e r e a high degree of precision <2, p.12>.
Since the diameter was a "consequence" of the length-weight
p r o c e d u r e , i t is clear t h a t no correspondance between gauge number
and "subdivisions of (in this case a N u r e m b e r g ) i n c h " could take
p l a c e : a given d i a m e t e r expressed in a m a t h e m a t i c a l value was not
the aim of the early w i r e m a k e r .
On t h e other hand, "as regards the values of t h e i n t e r v a l s
between the successive measures or n u m b e r s " , H o l z a p f f e l deplores
the lack of "any a t t e m p t at s y s t e m " , i.e. a clear mathematical
relationship. Generally, in early times, the "intervals" were
d e t e r m i n e d e i t h e r by the q u a l i t y of the raw m a t e r i a l or by the
w o r k i n g - p o w e r and tools available or by b o t h . The scale observed on
a g a u g e - p l a t e is in this case the result of a series of t e c h n i c a l
factors which could not be expressed in a clear mathematical
progression for e x a m p l e . Hence the gauge sytem has not to be
d e f i n e d as the aim but simply as the last link in the c h a i n .
H o l z a p f f e l ' s s t a t e m e n t bears no universal value and i t would be
careless to say t h a t the early gauges did s y s t e m a t i c a l l y " o r i g i n a t e
a c c i d e n t a l l y " or "by the eye alone"...!

b. " A n d as moreover gages, n o m i n a l l y the same, have been

made by various m a n u f a c t u r e r s w i t h i n s u f f i c i e n t aim at u n i t y of
measures, some i r r e g u l a r i t y thence exists amongst the gages in
c o m m o n use, n o t w i t h s t a n d i n g t h a t they may be n o m i n a l l y a l i k e . " < 1 ,
p. 1012>. This lack of p r e c i s i o n , deplored by Holzapffel, when
r e p l i c a t i n g a given g a u g e - p l a t e , is obviously the reason for the
d i f f e r e n c e s observed when c o m p a r i n g for example the t w o English
gauges published by H. Henkel <4, p.34>. On the c o n t r a r y , the
i m p r e c i s i o n in question is probably not the best e x p l a n a t i o n for the
insignificant differences existing between the t w o "English Steel
Music Wire Gauges" described by H o l z a p f f e l and T h o m e e , which we
shall compare at the end of this c o m m u n i c a t i o n .

How was the f o l l o w i n g t a b l e I publish in r e p r i n t f o r m ,

e l a b o r a t e d ? H o l z a p f f e l specifies t h a t " i n a s c e r t a i n i n g the precise
measures of the p r i n c i p a l gages, the author has had the valuable
c o - o p e r a t i o n of the Messrs. Stubs of W a r r i n g t o n , who m a n u f a c t u r e a
large number of these gages, and who t e s t e d the d r i f t s they e m p l o y ,
by means of a sliding gage c o n s t r u c t e d by H o l z a p f f e l <5c C o , for
reading o f f q u a n t i t i e s to the thousandth part of an i n c h , by means of
a v e r n i e r ; the results of these admeasurements are stated in the
three sections of the ( f o l l o w i n g ) t a b l e " [see the next page]< I ,
p.l012>.

After having emphasized that no r e l a t i o n does exist

between the three series of data published r e s p e c t i v e l y in the three
 4-

VALUES OF GAGES
KOR

WIRE AND SHEET METALS IN GENERAL USE,

EXPRESSED IX DECIMAL I'AIITS OF THE 1XCII.

i
SECTION ONE. SEC TION TWO. SECTION THREE. i
i

Itirminghnm Lancashire Gage for round Steel Wire, and also

Hiriulnghani for l'iuion W ire.
liaxufor IrouWire, Giige for Sheet
uuil for Sheet Iron Metals, llniss, The smaller sizes distinguished by Numbers.
and Steel. Odd,Silver, fcc. The larger by Letters, and called the Letter Gage.

MAHK. SIZE. ! MARK. SIZK. MARK. SIZE. MARK. SIZE. MARK. SIZB.

01100 — -454 1 — 004 80 — 013 1 40—096 A — -234

000 — -425 2 — -005 79—-014 i 39 — -090 ; B — -238
00 — -3110 3 — -000 78—-015 i 38 — 1 0 0 C -242
II — 3 4 0 4 —-010 77—016 | 37—102 D — •246
1 —-300 5—012 7G — -018 1 36—-105 1 E — -250
2 — 284 6—-013 75—-019 ; 35—107 F — -257
3 — -259 7 —015 74 — -022 j 34 _ - 1 0 9 G — •261
4 — 238 8 —010 73 — 023 33—111 11 — •266
5 — -220 fl —-01!) 72 — -024 32—115 I — -272
6 _ .o n ;i 10 _ 0 2 4 71 — -02G 31 — - U K , J — 277
7 — -1130 11 — 02!» 70 —-027 30—125 ; K — •201
8—-165 12 __ -034 69 — 029 2 9 — -134 L — -290
9—140 13—031; 68 _ -030 28—-138 M — -295
10—134 14 — 0 4 1 67 — 031 27—-141 N — -302
11 — 1 2 0 13—047 GG — -032 26—-143 O — •316
12 — - 1 0 9 1G— 051 6.-, — -033 23—146 P — -323
13 — -0.0S 17 _ - 0 5 7 64 _ 034 21 — 1 4 8 Q — -332
14 — -0113 18 —-061 63 — -035 23 — - 1 5 0 R — •339
15 — - 0 7 2 ly _ 0 G 4 62 — -036 22—152 S — -340
16 — -065 20 — -0G7 'j Gl — 030 21 —-157 T — •358
17 —-OoO 21 — 0 7 2 60—-039 20—160 U — -360 '
18—-049 22 — 074 ; 59 __ 040 l!l_-104 V — •377
19 — - 0 4 2 23 — - 0 7 7 58—041 18—167 W — •386
20 — -035 24 — 082 57 — - 0 4 2 17 — 1 6 9 X — -397
21 — 032 25 — 0f>5 5G —-044 16—174 Y — •404
22 — 028 2G — - 1 0 3 55 — 050 15—175 Z — •413
23 — 025 27 — 1 1 3 54 _ - 0 5 5 14—177 A l — 420
24 — -022 28 —-12(1 53 __ -o:,8 13—180 D l — •431
25 — 020 2!) — - 1 2 4 52 — -000 12 — - 1 0 5 C 1 — •443
2G — 0 1 0 . 30—126 51 —-064 11 — - 1 8 9 D l — -452 |
27_-on; ; 31—133 ' 50 — -0G7 10—190 E l — -462
1
28—014 32—143 4)1 — 0 7 0 !) —-191 1 Fl — •4/5 j
2«)— 013 33—145 48 — -073 li — -192 G I — •404
30—012 34 — 1 4 8 47 —-07G 7 —-193 H I — -494
31 _ 0 1 0 35—.-15H 46—070 (i — 1!)8
32 _ '00!) 3G — 167 45 _ - 0 0 0 5 — 201 1

33 __ -008 44 — . 0 8 4 4 — -204 i
43 — -086 3 -209 i
31 — 007
35 — -005 42 — -091 2 - - 219 i
30 __ -004 4 1 — »95 1 - -227
l 1 [.. i
48

sections of his t a b l e , H o l z a p f f e l allows us a glimpse a t w h a t has

been a great characteristic of early craftsmanship, i.e. daily
e x p e r i e n c e b u i l t up on long habits of artisans who knew p e r f e c t l y
w h a t they absolutely needed but disregarded what was of no use t o
t h e m : "The a p p r o x i m a t e measures of any one of these t h r e e series
m a y , perhaps, be m o d e r a t e l y f a m i l i a r to those a r t i z a n s who use t h a t
p a r t i c u l a r gage, but these same a r t i z a n s w i l l probably be as l i t t l e
i n f o r m e d of the t w o other gages, as the g e n e r a l i t y of i n d i v i d u a l s , t o
whom the whole of these, and other a r b i t r a r y i l l - d e f i n e d measures
are vague and c o n f u s e d " < 1 , p. 1012>. To suppress this confusion,
t h e r e is only one s o l u t i o n : to b r i n g the q u a n t i t i e s measured " t o
o r d i n a r y linear measure; or in other w o r d s , the standard f o o t and
i n c h " . < l , p.l012>

In his c o m m e n t s on t h a t t a b l e , H o l z a p f f e l had the good

idea to m e n t i o n w h a t is precious for us t o d a y : a comparison between
the " B i r m i n g h a m w i r e g a g e " ( f i r s t c o l u m n of the t a b l e ) , " t h e most
c o m m o n of the t h r e e p r i n c i p a l kinds, not only e m p l o y e d for iron
w i r e , but also f o r brass and other w i r e s , f o r black steel w i r e . . . " and
the " M u s i c wire g a u g e " . < l , p . ! 0 1 4 > :

In the wire- u*od for the strings of piano-fortes, the size9 now commonly used, are
known ns Nos. li to 20, and these agree very nearly with the sizes and half-sizes u\
some of the notches of the Liiriuingliam wire gages, as follows :—
Music wires, Nos. 6. 7. 0. .'I. 10. 11. 12. 14. 1G. II). CM.
And Birmingham wire gage, Xos. 26. _5J. 2.1. 2 H . 24. 2 3 j . 23. 22. 21. 20. Ifl.
Arc respectively alike.
The number <>, or the thinnest music wire now commonly used,measures about tl>.:
fifty-fifth part of an inch in diameter, and the No. 20, or the thickest, m e a s u r e
about the twenty-fifth of an inch.
Piano-fortes were formerly always strung with brass wire, but steel is now alone
employed, and they are *• ilfiiitu much /trttriYr," or thicker wires are employed, from
which cause the numbers 1 to " .» have probably fallen into disuse.

A closer look at the r e p r i n t of H o l z a p f f e l ' s t e x t shows

t h a t the author in question did not specify c l e a r l y if the p i a n o - f o r t e
w i r e gauge he mentions is a t y p i c a l " B i r m i n g h a m music w i r e gauge".
We know t h a t music w i r e had been made in this town since 1823 at
least [see my comm.853 in F o M R H I - Q . 5 0 , January 1988].
Though this lack of precision is u n f o r t u n a t e , the data
given on page 1013 of H o l z a p f f e l ' s work become i n t e r e s t i n g when
c o n v e r t e d into modern m e t r i c a l u n i t s . The measures i n v o l v e d range
f r o m N°6 to n°20 of section one of the t a b l e :

"Music wires":
N°6: 0.457mm.
N°7: 0.481mm.
N°8: 0.507mm.
N°9: 0.531mm.
N°10: 0.558mm.
N ° l 1: 0.594mm.
N°12: 0.634mm.
N°14: 0.71 1 m m .
N°16: 0.812mm.
N°18: 0.888mm.
N°20: 1.066mm.
 4-3

Do we have here the t y p i c a l " B i r m i n g h a m steel music

wire gauge"? This music w i r e gauge was undisputedly in use during
the 40's of the 19th c e n t u r y . There remains the i m p o r t a n t q u e s t i o n :
when did it appear for the f i r s t t i m e ? Was it already in use in this
f o r m during the 20's of the c e n t u r y ? When and how did the smaller
gauge-numbers (1 to 5) " f a l l i n t o disuse"? [I shall give some
elements for thought in this respect in the addenda to this
communication.]

Another source...

The d i f f e r e n t c o m m u n i c a t i o n s published in the last decade

dealing w i t h the question of early gauges (harpsichords and/or
f o r t e - p i a n o s ) , a l l m e n t i o n the great work due to the patience of
Thomee and published t w e n t y years a f t e r H o l z a p f f e l ' s book appeared.
The German i n v e s t i g a t o r mentions an "English steel w i r e gauge for
p i a n o - f o r t e s t r i n g s " and specifies t h a t this w i r e gauge, numbered X V I
in his great t a b l e , d i f f e r s f r o m another English " s t e e l music w i r e
gauge" numbered XIV in the same t a b l e . < 5 , p.653>

Firstly, it is easy to see t h a t H o l z a p f f e l (1846) and

Thomee X V I (1866) are obviously dealing w i t h the same English music
wire gauge:

H o l z a p f f e l ( s . above): Thomee XVI

N°6: 0.457mm. 0.46m m.
N°7: 0.481 m m . 0.485mm.
N°8: 0.507mm. 0.5 1 m m.
N°9: 0.53 1 m m . 0.535mm.
N°10: 0.558mm. 0.56m m.
N ° l Is 0.594mm. 0.595mm.
N°12 0.634mm. 0.63m m.
N°13 - 0.67m m.
N°14 0.7 11mm. 0.7 1 m m.
N°15 - 0.76m m.
N°16 : 0.812mm. 0.8 1 m m.
N°17 ; 0.85m m.
N°18 : 0.888mm. 0.89mm.
N°19 : 0.98mm.
N°20 : 1.066mm. 1.07mm.

Did they a c t u a l l y measure the same plate? If n o t , then

the discrepancies deplored above by H o l z a p f f e l are not as great as
he i m a g i n e d .
Secondly, let us c o m p a r e Thomee XIV <5, p.653> w i t h the
t w o i d e n t i c a l gauges in the preceding p a r a g r a p h :

Holza p f . / T h o r n . X V I : Thomee XIV

N°5: _ 0.38mm.
N°6: 0.457mm. 0.43mm.
N°7: 0.481mm. 0.534mm.
N°8: 0.507mm. 0.55m m.
N°9: 0.531mm. 0.607mm.
N°10: 0.558mm. 0.66mm.
N°1 1: 0.594mm. 0.710mm.
N°12: 0.634mm. 0.76mm.
50

N°13: 0.67mm. 0.833mm

N°14: 0.71 1 m m . 0.88mm.
N°15: 0.76mm. 0.965mm
N°16- 0.812mm. 1.0I7mm
N°17: 0.85mm. 1.039mm
N°18 0.888mm. 1.094mm
N°19; 0.98mm. 1.142mm
N°20 : 1.066mm. 1.21 5mm
N°21 - 1.269mm
N°22 : 1.323mm
N°23 : 1.395mm
N°24 • 1.470mm

In this c a s e , Thomee XIV is really different from

Holzapffel/Thom.XVI. It would be interesting to compare the
t h e o r e t i c a l d a t a of t h e s e two distinct English wire gauge s y s t e m s for
forte-pianos with t h e d i a m e t e r values actually measured on strings
found on English forte-pianos of t h a t period or on forte-pianos
strung with English wire.

Addenda

The following comparisons can throw some light on the

history of the music wire gauge system mentioned by Holzapffel.
Nevertheless, I emphasize t h a t it r e p r e s e n t s a kind of t h e o r e t i c a l
a t t e m p t , having only the p r e t e n t i o n of bringing up a series of
hypotheses, which could raise other questions in t h a t field.
If we take into account the d i a m e t e r values measured by
Hugh Gough on wire found on a Shudi/Broadwood harpsichord of 1782
<6, p. 132> and, if we c o m p a r e these d a t a ,

I. with the Birmingham wire gauge and with the

Nuremberg d i a m e t e r scala,

II. with the music wire gauge as indicated by Holzapffel,

then a series of hypotheses come to light.

I. (all d i a m e t e r values in mm.)(half number of Birmingham indicated: ?:-)

Gauge n °: H. G o u g h : / B.W.G.: Diff.G/B: Diff.G/N: Nuremberg
3 0.228 0.228 0.000 0.000 0.228
4 0.255 0.253 0.002 0.000 0.255
5 0.292 0.304 0.012 0.001 0.293
i.
6 0.342 0.342 0.000 0.003 0.345
7 0.368 0.355 0.011 0.004 0.364
8 0.405 0.406 0.001 0.001 0.406
9 0.456 0.457 0.001 0.003 0.453
10 0.508 0.507 0.001 0.002 0.506
1 1 0.560 0.558 0.002 0.004 0.564
12 0.623 0.634 0.011 0.006 0.629
13 0.685 1. 0.672 0.013 0.002 0.683
2"

14 0.80 0.812 0.012 0.003 0.803

 SI

G are measured values on strings found on an i n s t r u m e n t ; B are

measured values on a gauge p l a t e ; N are c a l c u l a t e d values f r o m the
Nuremberg length/weight procedure.

Hypotheses:

S t a r t i n g f r o m t h e f a c t t h a t the G d i a m e t e r values w e r e
found on an English harpsichord " s t a m p e d w i t h gauge numbers
running f r o m 14 to 3" <6, p.135>, we may ask ourselves, r e g a r d i n g
the b e t t e r correspondance between G and N , compared w i t h the
correspondance between G and B, if N u r e m b e r g w i r e had a c t u a l l y
been put onto the Shudi and had thus been " r e b a p t i z e d " , i.e. the
c o n t i n e n t a l numbering changed i n t o an English one?

I I . The d i a m e t e r values found by Hugh Gough can also be c o m p a r e d

w i t h the H o l z a p f f e l gauge (H) of 1846:

G: N ° : D i a m . m m.: H: N ° : Diam.mm
3 0.228 - -
4 0.255 (1 0.253)*
5 0.292 (2 0.304)*
6 0.342 (3 0.342-*)*
7 0.368 (4 0.355)*
8 0.405 (5 0.406)*
9 0.456 6 0.457
10 0.508 8 0.507
1 1 0.560 10 0.558
12 0.623 12 0.634
13 0.685 14 0.71 1
14 0.80 16 0.812
18 0.888
20 1.066

* The e x a c t correspondance between these music wire gauge

numbers and the B.W.G. are not given by H o l z a p f f e l , in whose t i m e
they had f a l l e n i n t o disuse [see above].

If we accept t h a t the w i r e on the Shudi dates really

f r o m the end of the 18th c e n t u r y , then we could conclude:

I . t h a t the d i f f e r e n c e between the harpsichord gauge

system G. (1782) and the f o r t e - p i a n o gauge system H . (1846) lies in
the manner of n u m b e r i n g the d i a m e t e r s c o m m o n to both systems
[we had e n c o u n t e r e d the same case in N u r e m b e r g at the end of the
18th c e n t u r y , <2, p.69>]. For e x a m p l e , the f o r t e - p i a n o N°6 is
corresponding to the harpsichord N°9. In t h a t hypothesis, the
e v o l u t i o n f r o m the early harpsichord gauge system to the l a t e r
f o r t e - p i a n o gauge system would simply have consisted in s h i f t i n g
the p o s i t i o n of the gauge numbers on the standard d i a m e t e r scale.
When did this change occur?
2. Now, which was this standard scale? For G . i t seems
to have been N u r e m b e r g . For H . i t is said by H o l z a p f f e l t o be
" a l i k e w i t h B i r m i n g h a m " . The " o v e r l a p p i n g " part of G. and H. brings
us to the q u e s t i o n : Does i t mean t h a t the c r e a t o r s of the
Birmingham system did " c o p y " the w e l l k n o w n N u r e m b e r g gauge
simply n u m b e r i n g i t in the English manner?
52.

Since N u r e m b e r g w i r e drawers o f t e n e m i g r a t e d t o f o r e i g n
countries, would there be a f i l i a t i o n between Nuremberg and
B i r m i n g h a m ? As i t is not possible to piece t o g e t h e r the h i s t o r i c a l
f a c t s f r o m only a series of numbers, measurements and hypotheses,
a l l of w h i c h , m o r e o v e r , are not absolutely unquestionable, we shall
have to wait until a thorough history of wire making in
B i r m i n g h a m , especially t h a t of the beginnings of this m a n u f a c t u r e in
t h a t English t o w n , could help us to clear this i n t e r e s t i n g q u e s t i o n .

Bibliography:

1. Holzapffel, Charles, " T u r n i n g and Mechanical Manipulations",

London, 1846-1850, 3 vols.

2. Gug, R., "En r e m o n t a n t la f i l i e r e de T h o i r y a Nuremberg",

Musique A n c i e n n e , 18, Septembre 1984, p.4-76.

3. A l b e r t i , Hans 3. v., Mass und G e w i c h t , B e r l i n , 1957.

4. H e n k e l , H u b e r t , " B e i t r a g e zum historischen C e m b a l o b a u " , L e i p z i g ,

1979.

5. Thomee, "Untersuchungen iiber Draht- und Blechlehren",

Z e i t s c h r i f t des Vereines Deutscher Ingenieure, X , 1866.

6. Thomas, W. R. ic Rhodes, J . 3. K., "Harpsichords and the A r t of

W i r e - D r a w i n g " , The Organ Year Book, X , 1979.