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Of Note

Innovative Middlemen: The Conn-O-Sax and Other Rare Saxophone Voices

Paul M. Cohen, Faculty, Manhattan School of Music

Posted: Monday, January 25, 2016

The Conn-O-Sax was a bold, innovative F alto saxophone made by American instrument manufacturer Conn for a very limited time in 1928. Combining elements of the saxophone and two double-reed instruments, the English horn and heckelphone, Conn attempted to create a new voice for the saxophone. Its innovations were numerous: a straight instrument with a pronounced bulb-shaped bell reminiscent of the English horn, pitched in the key of F (E-flat and B-flat are the typical keys for saxophones), and equipped with an extended range and a custom mouthpiece. The result was a unique timbre, visual appearance, and technical versatility that was visionary for its time. The Conn-O-Sax succeeded brilliantly as a new instrument in America but ultimately failed in the marketplace; we know of only twenty-five to still exist.

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Of Note

Good Vibrations: Free-Reed Instruments at the Met

Ken Moore, Frederick P. Rose Curator in Charge, Department of Musical Instruments; Jayson Dobney, Associate Curator and Administrator, Department of Musical Instruments; and Bradley Strauchen-Scherer, Associate Curator, Department of Musical Instruments

Posted: Thursday, December 10, 2015

The Department of Musical Instruments recently published a highlights guide, Musical Instruments: Highlights of The Metropolitan Museum of Art, which features approximately one hundred objects from around the world. Representing cultures from the ancient to the present, each object is accompanied by text that chronicles its historical, technological, or musical importance. Throughout the book, themes connect objects across time and place, and in the case of free-reed instruments, illustrate the cultural exchange of musical ideas.

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Of Note

Wanda Landowska and the Met

Rebecca Lindsey, Visiting Committee Member, Department of Musical Instruments and Department of Islamic Art

Posted: Monday, November 16, 2015

Among the many prominent musicians whom curator Emanuel Winternitz attracted to the Met to perform in his free Member Concerts was the distinguished Warsaw-born pianist and harpsichordist Wanda Landowska, who, like Winternitz, fled the Nazis in Europe and found a permanent home in the United States. Landowska is remembered today for having reintroduced the harpsichord to concert halls, beginning in Europe at the turn of the twentieth century, after almost a century of being largely displaced by the more powerful piano.

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Of Note

Listening to a Four-Hundred-Year-Old Instrument

Jayson Dobney, Associate Curator and Administrator, Department of Musical Instruments

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.

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Of Note

From the Ancient to the Present: Musical Instruments at the Met

Jayson Dobney, Associate Curator and Administrator, Department of Musical Instruments

Posted: Monday, October 19, 2015

The Department of Musical Instruments is pleased to announce the publication of a new book, Musical Instruments: Highlights of The Metropolitan Museum of Art. This insightful catalogue features more than one hundred extraordinary musical instruments, from ancient cultures to the present, created by gifted artists from across the globe.

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Of Note

The Status and Power of Ivory Trumpets

Ken Moore, Frederick P. Rose Curator in Charge, Department of Musical Instruments

Posted: Monday, September 21, 2015

The new exhibition Kongo: Power and Majesty, on view through January 3, 2016, displays several musical instruments, including a variety of ivory side-blown trumpets. While many were used as trade items produced for wealthy Europeans, such instruments also served as integral symbols of royal status and power in several sub-Saharan regions. A number of similar trumpets are also on view in The André Mertens Galleries for Musical Instruments.

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Of Note

Finding a Permanent Home for the "King": Laurence Witten, an Ideal Collector

Claire Givens, Trustee, National Music Museum

Posted: Monday, August 31, 2015

The National Music Museum, located on the campus of the University of South Dakota, is home to the Andrea Amati cello known as the "King," on loan to the Metropolitan Museum through September 8. The instrument was acquired in 1984 by the then-director of the museum, Dr. André Larson, as part of the extensive collection of Laurence Witten (1926–1995). The purchase of this collection and its display were made possible by Robert and Marjorie Rawlins, alumni of the university, and as such, this collection is now referred to as "The Witten-Rawlins Collection of Stringed Instruments."

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Of Note

At Home with the "King"

Joshua Koestenbaum, Associate Principal Cello, Ruth and John Huss Chair, The Saint Paul Chamber Orchestra

Posted: Monday, August 17, 2015

In July 2005 I was invited to the National Music Museum in Vermillion, South Dakota, to play Andrea Amati's "King" cello, now on view at the Met through September 8. The demonstration was to be a part of the conference "The Secrets, Lives, and Violins of the Great Cremona Makers, 1505–1744"—a four-day event devoted to the life and work of Andrea Amati, who standardized the form of the modern violin, and the other great Cremonese makers who followed him. I was thrilled and very grateful to be asked to see, touch, and play this original, Platonic Ideal of the cello—future examples being instantiations of this divine form.

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Of Note

Giving Voice to Times Both Past and Future

Kevin Sherwin, Guitarist

Posted: Monday, August 10, 2015

For the June gallery concert at The Metropolitan Museum of Art, I had the privilege of performing on a 1953 Ignacio Fleta guitar from the Museum's collection. To me, it was quite a revelation. I realized on my way to the first session with the instrument that I hadn't spent a lot of time playing a guitar made before 1980, so I knew I was in for something really special.

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Of Note

The "King" Is in the Details: Recreating the Lost Decorations

Matthew Zeller, Organologist and Musicologist

Posted: Monday, August 3, 2015

The "King" cello, on loan to The Metropolitan Museum of Art from the National Music Museum through September 8, is a rare surviving example from the decorated set of instruments made in the mid-sixteenth century by Andrea Amati and presented to King Charles IX of France. The "King" has been reduced in size from a large basso, or bass violin, to a modern-day cello. Without this reduction in size, the "King" may have been neglected or lost to time as many other fine instruments have been, and we would be at a loss without its incomparable beauty.

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Of Note

Emanuel Winternitz and the Museum's Member Concerts

Rebecca Lindsey, Visiting Committee Member, Department of Musical Instruments and Department of Islamic Art

Posted: Monday, July 27, 2015

Beginning in the early 1940s, the Met became home to a remarkable series of free concerts performed on many of the finest instruments in the Museum's collection. The concerts came about thanks to the efforts of the first curator of the Department of Musical Instruments, Emanuel Winternitz, who believed that the instrument collection needed to be heard as well as seen in order to be fully appreciated. While the use of musical instruments has always been an important part of understanding and interpreting them as art objects at the Metropolitan Museum, the philosophy of the time was much more liberal than today's conservation-minded approach. The concerts began in early 1943 and continued for more than a decade until the creation of a Department of Auditorium Events (later Concerts and Lectures), which gradually replaced the Winternitz-era scholarly programming with more mainstream attractions for which it could charge admission.

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Of Note

Taking a Closer Look at the Amati "King" Cello

Andrew Dipper, Consultant Conservator, Yale University Collection of Musical Instruments

Posted: Tuesday, July 14, 2015

Decorated instruments in the violin family such as Andrea Amati's "King" cello were usually made in sets or consorts, and were intended as diplomatic gifts to celebrate important state occasions. Because of this, the decorated Amati instruments were limited in number and are now extremely rare to see outside of museums and private collections. Luckily for visitors to the Met, the "King" cello, the world's oldest surviving cello, is now on view through September 8, 2015, in The André Mertens Galleries for Musical Instruments, on loan from the National Music Museum in Vermillion, South Dakota.

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Of Note

The "Number One Bill Clinton" Tenor Saxophone

Deborah Check Reeves, Curator of Education and Woodwinds, Associate Professor of Music, National Music Museum, University of South Dakota

Posted: Tuesday, June 30, 2015

It started as a design idea back in December 1992, and in May 1994 that idea blossomed into an Oval Office presentation of the "Number One Bill Clinton" tenor saxophone to the instrument's presidential namesake.

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Of Note

Building a Family Dynasty: Three Generations of Amati Luthiers

Philip J. Kass, Independent Scholar

Posted: Monday, June 22, 2015

The subject of exactly who was the "inventor" of the violin has swirled around the history of the craft of violin making for generations. While it may never be answered, what is indisputable is that Andrea Amati of Cremona created a style, design, and method of construction that was innovative, widely admired, and imitated throughout Europe in his lifetime, and thus it was Amati who established what the violin would become and what musicians all know and love to this day.

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Of Note

Now on View: Andrea Amati's "King" Cello, on Loan from the National Music Museum

Arian Sheets, Curator of Stringed Instruments, National Music Museum

Posted: Thursday, June 11, 2015

For centuries, the Amati name has been lauded in connection with the violins, violas, and cellos produced by the family's four generations of instrument makers in the Tuscan city of Cremona. The early history of Cremonese lutherie is shrouded in mystery, but the survival of around two dozen instruments by Andrea Amati (ca. 1505–1577) is a testament to both the astonishingly high quality of violin making in Cremona, and also to the extent to which these instruments were treasured, repaired, and modified for players and collectors for five centuries. The "King" cello by Andrea Amati, painted with the armorials and mottos of King Charles IX of France (1550–1574), reflects a long history of fine European musical instruments of noble provenance. Now in the permanent collection of the National Music Museum in Vermillion, South Dakota, the "King" cello has been graciously loaned to the Met for display in The André Mertens Galleries for Musical Instruments from June 11 through September 8, 2015.

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Of Note

The Many Sounds of Stone

Ken Moore, Frederick P. Rose Curator in Charge, Department of Musical Instruments

Posted: Wednesday, May 27, 2015

Stone is far from the first thing that springs to mind as one considers the materials needed for a musical instrument to make a pleasing sound, yet in many parts of the world this rigid element is often included in instrument making. On May 29, Glenn Kotche and Third Coast Percussion will perform a new composition inspired by one such instrument in the Museum's collection: the William Till rock harmonicon, made around 1880.

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Of Note

Investigating an Appalachian Treasure

Jake Meserve Blount, Former Intern, Department of Musical Instruments

Posted: Monday, May 18, 2015

On a recent morning I sat down with a number of journal articles and folders in preparation for the cataloging of the Met's collection of Appalachian dulcimers. I tapped my foot along to the locomotive beat of the old-time fiddle tune "Sugar Hill" as it drifted over from my computer speakers a few feet away, and leafed idly through one particular folder which contained all known information and correspondence relating to the best-documented of the Museum's dulcimers: 89.4.988.

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Of Note

Happy Birthday, Johannes

Jayson Dobney, Associate Curator and Administrator, Department of Musical Instruments

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.

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Of Note

A New Department: Emanuel Winternitz's Early Years at the Met

Rebecca Lindsey, Visiting Committee Member, Department of Musical Instruments and Department of Islamic Art

Posted: Tuesday, April 28, 2015

In 1949 the Department of Musical Instruments and Concerts (as it was initially known) became the Museum's thirteenth curatorial department. The person responsible for this event, Dr. Emanuel Winternitz, was named curator. Winternitz was hired in 1941 and in the nick of time, as the Museum was then deeply invested in a plan to deaccession all but four of the more than four thousand instruments in its collection.

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Of Note

On Acquiring a Rare Early Seventeenth-Century Koto

Ken Moore, Frederick P. Rose Curator in Charge, Department of Musical Instruments

Posted: Monday, April 13, 2015

One of the most exquisite acquisitions made by the Department of Musical Instruments in the last decade was a spectacular koto, or long zither, from early seventeenth-century Japan. In addition to the instrument itself are many components, including an early nineteenth-century lacquered storage box, an eighteenth- and nineteenth-century silk brocade wrapping, and thirteen silver-tipped and -lined bridges. Each component is expertly decorated, and the process of exhibiting and photographing the beauty of these pieces is complicated. A stop-action video taken after a 2013 photo session reveals the various elements involved in packing the koto for transportation.

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About this Blog

The Museum's collection of musical instruments includes approximately five thousand examples from six continents and the Pacific Islands, dating from about 300 B.C. to the present. It illustrates the development of musical instruments from all cultures and eras. On this blog, curators and guests will share information about this extraordinary collection, its storied history, the department's public activities, and some of the audio and video recordings from our archives.