Jayson Dobney is an associate curator and administrator in the Department of Musical Instruments.
Follow Jayson on Twitter: @JayKerrDobney
Posted: Tuesday, October 27, 2015
It is always exciting to hear a great instrument from a historic collection used in performance, and it is especially thrilling to hear one made more than four hundred years ago. Recently, the Museum asked the lute player Christopher Morrongiello to perform on a lute in the collection attributed to a member of the Tieffenbrucker family. One of the most important dynasties of Renaissance stringed-instrument makers, the family originated in the town of Tieffenbruck, located in the Füssen region of Bavaria.
Posted: Monday, October 19, 2015
Posted: Thursday, May 7, 2015
The German composer Johannes Brahms was born on May 7, 1833, in the city of Hamburg. In addition to being a virtuosic pianist, Brahms also composed for orchestra, chorus, chamber ensembles of various combinations, and solo instruments. He was friends with many of the leading musicians of the nineteenth century, and was particularly close to composer Clara Schumann and to Joseph Joachim, the famed violinist to whom Brahms dedicated many of his works for that instrument.
Posted: Monday, March 23, 2015
In the modern orchestra, wind instruments made before the twentieth century are considered to be outmoded and unusable. Technical developments such as valves and keys were so fundamental that nearly all were replaced by newer models. By contrast, seventeenth- and eighteenth-century string instruments, particularly violins by the famous Cremonese maker Antonio Stradivari, remain sought after by leading performers. Subtle alterations have enabled these violins to stay in use, even as performance spaces grew larger and compositions pushed instruments to their technical capacity, demanding a larger sound and a greater compass of notes.
Posted: Monday, March 16, 2015
Dublin had a flourishing music scene in the eighteenth century. The city had two cathedrals, St. Patrick's and Christ Church, that both employed a retinue of full-time professional musicians. In addition, a state orchestra was also maintained to provide music for civic occasions. Musicians were attracted to Dublin for these positions and found ample additional opportunities for music making in the numerous concert halls and theaters across the city. Dublin even attracted George Frederick Handel, who visited in 1741 and 1742, and premiered the Messiah there on April 13, 1742.
Posted: Tuesday, January 20, 2015
The Metropolitan Museum of Art is full of visual arts depicting people making music. These images of musicians can tell us much about musical life in the past, but what exactly was the experience of contemporary viewers when they saw these works? Certainly, familiarity with the instruments depicted would have evoked music in their minds. A modern example might be the use of a guitar in an ad for blue jeans and its ability to bring to mind a favorite rock anthem or country ballad.
Posted: Monday, November 24, 2014
This week marks the celebration of Thanksgiving in the United States, and one of the popular hymns that will be used in religious services marking the date is the hymn "Nun danket alle Got," or "Now Thank We All Our God." The words to this hymn were written around 1636 by the Lutheran minister Martin Rinkart (1586–1649) and set to the tune known as the "Leuthen Chorale," attributed to Johann Crüger and written around 1647. The melody was later set by Johann Sebastian Bach in several of his cantatas and by Felix Mendelssohn in his Second Symphony.
Posted: Monday, September 29, 2014
As September and National Piano Month come to an end, the Department of Musical Instruments wraps up its series of posts highlighting some of the most important pianos from The Metropolitan Museum of Art—home to one of the most comprehensive collections of historic pianos to be found anywhere in the world. After showcasing the work of Erard & Co., Joseph Böhm, Conrad Graf, Nunns & Clark, Johann Schmidt, and Carl Bechstein in previous installments, the celebration finishes with five final examples of pianos from the Museum's collection—including the oldest extant piano in the world.
Posted: Wednesday, September 24, 2014
In honor of National Piano Month, the Department of Musical Instruments continues its series of posts highlighting some of the most important, unusual, and visually interesting pianos from The Metropolitan Museum of Art—home to one of the most important and comprehensive collections of historic pianos to be found anywhere in the world. After exploring the craftsmanship of Erard & Co., Joseph Böhm, F. Beale & Co., John Geib and Son, and Conrad Graf in the first installment, the survey continues with five more examples of historic pianos from the Museum's collection.
Posted: Friday, September 19, 2014
The piano has been an integral part of Western music since the late eighteenth century. Although invented around the year 1700, it took several decades before the instrument had become a favorite of composers and performers alike. The piano underwent enormous change in its first 150 years, and the two regional schools of instrument makers—located in Vienna and London—gave musicians a large choice of pianos with differing tonal characteristics. Versions of the instrument eventually developed that were space-efficient, first the square piano and later the upright, which allowed it to find its way into middle-class homes.