Music Museums and Musical Instrument Collections

Heike Fricke

MUSIC MUSEUMS AND MUSICAL INSTRUMENT COLLECTIONS

In German Music Council / German Music Information Centre, ed., Musical Life in Germany (Bonn, 2019), pp. 486–509

Published in print: December 2019 © German Music Information Centre http://www.miz.org/musical-life-in-germany.html https://themen.miz.org/musical-life-in-germany Kapitel |

Music MuseuMs and Musical instruMent collections

The self-image of musicians’ museums and instrument col- 19 lections has changed radically in recent years. Above all, the available knowledge is now meant to be made accessible to as many people as possible. Here Heike Fricke describes the challenges this entails.

‘KlangZeitRaum’: an exhibition in Michaelstein Abbey 486 487 Music Museums and Musical Instrument Collections |

| Heike Fricke cultivate the memory of such towering ﬁgures and to shed light on their working environment and historical surroundings. Only when their music is illuminated in educational programmes, special exhibitions and concerts is it possible to gain MUSIC MUSEUMS AND MUSICAL an understanding and appreciation of our cultural heritage, and thus to kindle interest in the on-going cultivation, conservation and fresh interpretation of the INSTRUMENT COLLECTIONS artefacts of musical culture.

Many composers have drawn inspiration for their music not least from the mu- Germany has more than 150 museums devoted to musicians, musical instru- sical instrument industry, which set new historical standards as it evolved. ments, regional music history or ethnomusicology. Among their aims are to col- Museums thus have the mission not only to document the life and works of ma- lect, conserve and communicate the posthumous estates of famous composers jor figures of music history, but also to conserve and update valuable collections or performers; to present, document, contextualise and research the products of of musical instruments, many of which date back to the 19th century or even musical instrument builders; and to explore regional and historical aspects of mu- earlier. Music museums and instrument collections are similar in that both of- sical culture. In the case of such preeminent composers as Heinrich Schütz, Johann fer objects, sources and knowledge of inestimable value to the study of music. Sebastian Bach, Ludwig van Beethoven and Johannes Brahms, the preservation, Today many museums, besides housing and cataloguing their collections, also cataloguing and communication of their posthumous effects reflect not only their conduct active research programmes as varied and manifold as the sources and historical significance in Germany, but the importance of their music in today’s objects they preserve, ranging from the study of materials to the exploration of international repertoire altogether. Accordingly, one of the tasks of museums is to their provenance.

MUSEUMS DEVOTED TO MUSICIANS

Germany has some 55 museums and memorial sites with holdings reﬂecting the life and work of musicians, in most cases composers. These ‘musician museums’ are often located in the places where the artists worked or were born and illuminate their social and cultural surroundings by displaying their personal furniture (or furniture from the same period), paintings, busts, memorabilia, musical instruments, autograph scores, letters and other original documents. Frequently their activities are supported by non-proﬁt associations that sometimes also function as the museums’ sponsors.

Recent years have witnessed the emergence of new memorial sites, such as the Scharwenka Foundation with its cultural forum, archive and museum in Bad Saarow. Between 2012 and 2014 the house that Xaver Scharwenka built in 1910, and in which he lived to the end of his days, was reconstructed by the community in MMeMemmorial rooroom at thhe Robbertt Schumanna n House in Zwwickkauu conjunction with the Scharwenka Foundation to create the ﬁrst musician museum

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in the state of Brandenburg. It is funded largely from donations, as is its archive with printed sheet music, correspondence and other testaments to the activities of The range of musi- Xaver, Philipp and Walter Scharwenka. Another new facility is the 'Ostrockmuse- cians’ museums um' (Eastern Rock Music Museum) in Kröpelin, which opened in 2015 with a collec- extends from small tion of sound recordings, original instruments and technical equipment from the memorial sites to large former state of East Germany. Also currently planned is a thorough renovation of museums with archives the former residence of Robert and Clara Schumann in Düsseldorf, which will give and research staff. rise to a modern museum devoted to the life and works of these two artists.

Some musician museums are accompanied by specialised archives and research institutes to document, preserve and disseminate the artist’s musical legacy, to collect and study manuscripts and other sources, to issue complete editions, separate prints and publication series, to encourage publications and to carry out digitisation projects. Institutes of this type with an international presence include the Beethoven House in Bonn, the Leipzig Bach Archive, the Handel House in Halle, the Robert Schumann House in Zwickau, the Richard Strauss Institute in Gar- misch-Partenkirchen and the Richard Wagner Museum with national archive and research centre in Bayreuth.

Many private individuals, societies, foundations and citizens’ initiatives have devoted themselves to the preservation and rebuilding of historical sites where important musicians formerly lived and worked. They seek support for their projects from the public sector. The Weimar Bach Society, for example, has undertaken to build a memorial site in Weimar above the extant renaissance cellar of Bach’s former place of residence. In this way the society hopes to create greater public awareness of Weimar’s signiﬁcance as Bach’s place of employment, to strengthen the residents’ sense of identity with their city and to appeal to tourists. These two viewpoints – to create a sense of cultural identity and to exploit the market for cultural tourism – are of key importance to many musician museums.

Opposite page, top: the Richard Wagner Museum in the composer’s former place of residence in Bayreuth Middle: the Kurt Weill Centre, located in Feininger’s ‘master house’ in Dessau-Rosslau, the composer’s birthplace Bottom left: the Heinrich Schütz House in Weissenfels, the composer’s former place of residence Bottom right: the Beethoven House in Bonn, the building where the composer was born 490 491 Music Museums and Musical Instrument Collections | Fig. 1 | Museums, archives and research institutes focusing on particular musicians

In an effort to achieve greater public visi- Source: German Music Information Centre, 2018 bility, many musician museums have re- vised the way they display their holdings and modernised and/or enlarged their premises. The recent construction or re-

Johannes Brahms Gesamtausgabe, Forschungsstelle (Kiel) modelling of buildings reﬂects a change Brahmshaus (Heide) both in museum education and in the Brahms-Institut an der Musikhochschule Lübeck MUSEUMS, ARCHIVES AND RESEARCH INSTITUTES importance attached to these buildings Hasse-Institut (Hamburg) FOCUSING ON PARTICULAR KomponistenQuartier Hamburg: MUSICIANS today. The Wagner Museum in Bayreuth, Brahms-Museum, C. P. E. Bach-Museum, Johann Adolf Hasse-Museum, Telemann-Museum, to take an example, has remodelled the Fanny & Felix Mendelssohn Museum, Mendelssohn-Archiv, Staatsbibliothek zu Berlin – Museum, exhibition Gustav Mahler-Museum Preußischer Kulturbesitz Bernd Alois Zimmermann-Gesamtausgabe (Berlin) Villa Wahnfried and created, along- Ramones Museum Berlin Arbeitsstelle Andreas Romberg Frida-Leider-Zentrum (Berlin) Archive, special library Universität Vechta Simon-Mayr-Gesamtausgabe (Berlin) Kurt-Schwaen- side Wagner’s residence, a translucent Hanns Eisler Gesamtausgabe (Berlin) Archiv C. P. E. Bach-Ausstellung (Berlin) Museen Viadrina Research institute, research Hans-Sommer-Archiv (Berlin) (Frankfurt (Oder)) department, complete edition glass-and-steel museum in sharp archi- Arnold Schönberg Gesamt- ausgabe, Forschungsstelle (Berlin) Carl-Philipp-Emanuel-Bach-Archiv Zentrum für Telemann-Pflege (Frankfurt (Oder)) tectural contrast to the neighbouring und -Forschung (Magdeburg) More than one category within Kurt-Weill-Zentrum Scharwenka Kulturforum, Musikermuseum und Carl-Maria-von-Weber- (Dessau-Roßlau) Scharwenka-Archiv (Bad Saarow) a museum Gesamtausgabe (Detmold) villa. The aim of the museum is to turn Bach-Gedenkstätte im Schloss Köthen Beatles Museum (Halle (Saale)) Note: The map shows those facilities organ- Roy Black Archiv Carl-Loewe-Haus (Wettin-Löbejün) Bach-Archiv Leipzig, (Dortmund) the aura of Wagner’s place of work and Schumann-Gedenkstätte Johann-Joachim-Quantz- Forschungsinstitut – Bibliothek – Museum ised in the working group ‘Music Museums Düsseldorf 1 3 Schumann-Haus Leipzig in Germany’ as well as other publicly or pri- Robert-Schumann- Ausstellung (Scheden) Heinrich-Schütz-Haus Villa Teresa vately funded institutions that preserve ex- residence into a living experience while Forschungsstelle Heinrich-Schütz-Archiv, Forschungsstelle Gesamtausgabe Max-Bruch-Autographen- Spohr Museum Weißenfels 2 4 (Coswig) hibitions on particular musicians. Archives, sammlung Stiftung Zanders (Kassel) für mitteldeutsche Musikgeschichte des (Düsseldorf) Bach-Stamm- 16. bis 18. Jahrhunderts (Dresden) research institutes and research departments (Bergisch Gladbach) haus Wechmar Liszt-Haus 5 reminding visitors of Bayreuth’s ambiva- Joseph Haydn-Institut Reuter-Wagner-Museum (Weimar) 6 Carl-Maria-von-Weber-Museum are included if their principal tasks are (Köln) Thüringer Museum Eisenach 7 Grieg-Begegnungs- Dresden-Hosterwitz aligned on individual musicians and they are Max Bruch-Archiv BrüderBusch Bachhaus stätte Leipzig lent impact on history. Universität zu Köln Gedenkstätte (Siegen) Eisenach Richard-Wagner-Stätten Graupa (Pirna) either independent or rooted in another insti- Beethoven-Haus, Museum – Das kleinsteBeatles-Museum 8 Gottfried-Silbermann-Museum (Frauenstein) tutional facility. Also included are complete der Welt (Siegen) Archiv – Verlag (Bonn) Brahms-Gedenkstätte Schloss Bachausstellung im Mauersberger-Museum, editions not institutionally connected with Joseph-Woelfl-Haus (Bonn) Humperdinck- Haus und und Park Altenstein Schlossmuseum (Großrückerswalde-Mauersberg) an explicitly named research department. Musikwerkstatt (Siegburg) (Bad Liebenstein) Schumannhaus Bonn (Arnstadt) Robert-Schumann-Haus Zwickau, Facilities with broad-based collecting or re- Museum – Forschungszentrum – Briefedition Museum Mutter-Beethoven-Haus Hindemith Kabinett im Max-Reger-Archiv search policies are excluded, as are associa- In anticipation of the 250th anniversary (Koblenz) Kuhhirtenturm (Frankfurt a.M.) Meininger Museen Richard-Wagner-Museum/Nationalarchiv 1 tions and societies devoted to the memory of und Forschungsstätte der Richard-Wagner- Händel-Haus Halle, Forschungs- u. Stiftung, Haus Wahnfried (Bayreuth) Bildungsstätte – Bibliothek – particular musicians, many of which maintain of Beethoven’s birth in 2020, the Beet- Museum – Hallische Händel Richard-Wagner-Brief- E.T.A. Hoffmann- their own archives. These facilities are listed Christoph Willibald Gluck - Sämtliche Werke, 9 Haus (Bamberg) Gesamtausgabe Forschungsstelle (Mainz) ausgabe (Würzburg) Max-Reger-Gedächtniszimmer 2 in the information portal of the German (Brand) Wilhelm-Friedemann-Bach-Haus Hindemith Institut (Halle (Saale)) Music Information Centre. hoven House in Bonn is preparing a Frankfurt 3 Eberwein Archiv (Trier) Museum im Mendelssohn-Haus Franz-Liszt-Museum (Leipzig) der Stadt Bayreuth Max-Reger-Sammlung, 4 new permanent exhibition in spatially Stadtmuseum Weiden Edvard-Grieg-Forschungsstelle Information on exhibition policies, collection Lully-Gesamtausgabe Richard Wagner Schriften, Universität Leipzig Universität des Saarlandes Joseph Martin Kraus Archiv u. Historisch-kritische Gesamtausgabe 5 Internationales Kurt-Masur-Institut focuses and visiting addresses of the facilities (Saarbrücken) Gedenkstätte, Gesamtausgabe (Würzburg) (Leipzig) shown here can be found at enlarged premises scheduled to reopen (Buchen) Adolph-von-Henselt- 6 Leipziger Ausgabe der Werke von www.miz.org/institutionen/ Archiv und -Studio, Stadt- Felix Mendelssohn Bartholdy 7 musikinstrumentensammlungen-museen- Max-Reger-Institut (Karlsruhe) museum Schwabach Reinhard-Keiser-Gedenkstätte in December 2019. The new conception (Teuchern) gedenkstaetten-s32 Internationale Händel- Johann-Nepomuk-David-Archiv / Sammlung 8 Heinrich-Schütz-Haus Bad Köstritz, Akademie Karlsruhe Dr. Bernhard A. Kohl (Stuttgart) Forschungs- und Gedenkstätte im Werner-Egk-Begegnungs- Geburtshaus des Komponisten foresees not only an up-to-date themat- stätte (Donauwörth) Heinrich-Kaspar-Schmid- und 9 Schuncke-Archiv Silcher-Museum Arthur-Piechler-Archiv (Landau) Forschungsstelle Jacques Offenbach, (Baden-Baden) Schnait (Weinstadt) Hochschule für Musik und Gebrüder-Lachner- Darstellende Kunst Frankfurt am Main ic approach to Beethoven but a separate Internationale Museum (Rain) Brahmshaus Baden-Baden Bachakademie Stuttgart Mozarthaus (Augsburg) area for temporary exhibitions, a trea- Franz Schubert. Neue Ausgabe Simon-Mayr-Forschungsstelle sämtlicher Werke, Editionsleitung (München) (Tübingen) Orff-Zentrum München, Staatsinstitut für Richard-Strauss-Ausgabe (München) sure chamber with original manuscripts, Forschung und Dokumentation

Carl Orff Museum (Dießen) a music room for recitals and a seminar Orlando di Lasso-Gesamt- ausgabe (München) Cartography: S. Dutzmann Leipzig, 2018 room for educational offerings. Richard-Strauss-Institut (Garmisch-Partenkirchen) National boundary 025 5075 100 km © German Music Council/ State boundary German Music Information Centre A unique bundling of synergy has been successfully achieved in Hamburg by ‘KomponistenQuartier’, an ensemble of 492 493 Music Museums and Musical Instrument Collections |

museums devoted to the composers Johannes Brahms (since 1971), Georg Philipp In contrast, artists and composers expelled or murdered during the Third Reich Telemann (since 2011), Carl Philipp Emanuel Bach and Johann Adolph Hasse (both continue to receive short shrift. Exceptions include Leipzig’s Notenspur, which has since 2015). In 2018 this complex was expanded to include exhibitions on Fanny taken up the subject of Jewish musical culture, the Busch Brothers Memorial Site and Felix Mendelssohn and Gustav Mahler. The sponsoring organisation, Kom- in Siegen and the Kurt Weill Centre in Dessau. Initiatives such as ‘Violins of Hope’, ponistenQuartier Hamburg, was initiated by the Carl Toepfer Foundation in con- where violins from concentration camps and Jewish ghettos were displayed in the junction with several composers’ societies under the aegis of the conductor Kent foyer of the Berlin Philharmonie (2015), the annotated reconstruction of the 1938 Nagano. The goal of the initiative is to convey Hamburg’s importance to music Düsseldorf exhibition ‘Degenerate Music’ (1988 and 2010) and ‘Verstummte Stim- history and to underscore its impact on the city’s musical and cultural life today, men’ (Silenced voices, 2008), a travelling exhibition on the expulsion of Jews from from the new Elbphilharmonie concert hall to the Reeperbahn Festival. Kompo- Germany’s opera houses during the years 1933 to 1945, remain rare exceptions. nistenQuartier is supported by a broad array of donors and civic organisations. A similar approach is sought by the Notenspur Association in Leipzig, a pooling MUSICAL INSTRUMENT MUSEUMS of private individuals, associations, institutions and local businesses to turn the city’s music history into a living experience. In 2012 a system of guided walks be- As a rule, museums devoted to musicians are organised as independent en- tween memorial sites opened in the city centre. Further projects were also carried tities. In contrast, most musical instrument collections form departments within out, all serving to anchor music within the city’s urban development. Finally the larger institutions, whether these be universities, research institutes, state, regio- initiative actively helped nine music heritage sites in Leipzig to apply for the Seal nal or municipal museums, or museums focusing on technology, cultural history of European Cultural Heritage, which was awarded to four of the city’s composers’ or the arts. Musical instrument museums can be distinguished by area of interest. houses in March 2018. Some take a comprehensive approach and display a broad spectrum of instruments from European and occasionally non-European music. Their task resides in preserving, cataloguing and expanding their collections, placing their holdings in Left: the Musical Instrument Museum at the State Institute of Music Research (Berlin) Right: mechanical instruments at the Musical Instrument Museum of Leipzig University

494 495 Music Museums and Musical Instrument Collections | Fig. 2 | Musical instrument museums and collections

Source: German Music Information Centre, 2018 the context of musical and cultural history, and examining and communicating the function, use and construction of musical instruments. Others are concerned MUSICAL INSTRUMENT exclusively with particular families of MUSEUMS AND COLLECTIONS instruments (e.g. keyboard instruments, Harmonika-Museum die LÜBECKER MUSEEN, International (Norderstedt) St. Annen-Museum, Musikinstrumentensammlung Comprehensive collections brass instruments or musical automata).

Museum am Rothenbaum, Kulturen Mecklenburgisches Orgel- Keyboard instruments They examine the technological evolu- und Künste der Welt (Hamburg) museum (Malchow) Museum für Kunst und Gewerbe Hamburg, Sammlung Musikinstrumente String and plucked instruments tion, manufacture and use of their partic- Organeum, Orgelakademie Wind instruments ular group of instruments, often within Ostfriesland (Weener) Übersee-Museum Bremen, Musikinstrumentensammlung Musikinstrumenten-Museum des Staatlichen Instituts für Musikforschung Accordions and harmonicas the context of local history. For example, Preußischer Kulturbesitz (Berlin) Harry's Klingendes Museum Stadtmuseum Berlin, Fachbereich (Schwarmstedt) Ethnologisches Museum der StaatlichenMuseen zu Berlin, Geschichte/Musik Mechanical instruments Abteilung Medien – Berliner Phonogramm-Archiv, in 1930 a Museum of Violin Building was Musikethnologie, Visuelle Anthropologie Braunschweigisches Landesmuseum, Non-European musical instruments Musikinstrumentensammlung established in the town of Mittenwald, Museum mechanischer Brandenburgisches Museum Viadrina, Reka-Sammlung „Musica Curiosa“ (Vlotho) Musikinstrumente Orgelmuseum historischer Musikinstrumente Städtisches Museum (Königslutter) Other instruments Braunschweig, Sammlung (Bad Belzig) (Frankfurt) an historical centre of violin makers, to Westfälisches Glocken- historischer Musikinstrumente museum (Gescher) More than one category within Musikinstrumentensammlung des reﬂect the industry’s 300-year tradition Folkwang Universität der Künste, Orgelmuseum Borgentreich Klosters Michaelstein (Blankenburg) a museum Museum Burg Linn, Technische Geräte- und Instru- Abteilung für mechanische menten-Sammlung (Essen) Georg-August-Universität Händel-Haus Halle, within the history of the area. Today the Musikinstrumente (Krefeld) Göttingen, Musikwissen- Ausstellung „Historische Musikinstrumente“ Kulturhistorisches Museum schaftliches Seminar, Note: The map shows publicly or privately Haus Kemnade, Musikinstrumenten- Musikinstrumentensammlung Museen im GRASSI, Musikinstrumentenmuseum funded musical instrument museums and Musical Instrument Museum in Mark- sammlung Hans und Hede Grumbt (Hattingen) der Universität Leipzig collections which are either independent or Bachhaus Eisenach, Das Bergische Drehorgel- Glockenmuseum appear as departments in larger institutions, Musikinstrumentensammlung (Laucha an der Unstrut) neukirchen deals in much the same way Pianomuseum Haus museum (Marienheide) e.g. universities, state, regional or municipal Eller (Bergheim) Rautenstrauch-Joest-Museum – museums, or museums with an emphasis on Kulturen der Welt, Glockenmuseum Apolda with the cultural history of the Vogtland Gottfried-Silbermann- cultural history. Museums devoted to particu- Kölnisches Stadtmuseum, Musikinstrumentensammlung (Köln) lar musicians, many of which likewise main- Sammlung historischer Museum (Frauenstein) Musikinstrumente Glockenwelt Erlebniswelt Blockflöte (Fulda) Hüttels Musikwerke- tain collections of musical instruments, are region, known as Germany’s ‘music cor- Burg Greifenstein Ausstellung (Wohlhausen) not included, except for the Handel House in Burghaus Wassenach, Orgelbaumuseum Schloss Musik- und Wintersportmuseum Halle and the Bach House in Eisenach, whose Sammlung Historischer Hanstein Ostheim/Rhön Klingenthal ner’. This museum, established as early Musikinstrumenten extensive musical instrument collections Tasteninstrumente Musikinstrumentenmuseum Lißberg (Ortenberg) Museum Göckes (Neu-Isenburg) Harmonikamuseum Zwota form a major focus of their exhibition policy. (Klingenthal) as 1883 by the Markneukirchen Trade Siegfrieds Mechanisches Historisches Museum Frankfurt, Musikinstrumenten- Instead, these museums are shown on the Musikkabinett (Rüdesheim) Musikinstrumenten-Sammlung Museum Markneukirchen map ‘Museums, archives and research insti- orgel ART museum tutes focusing on particular musicians’. There Association, originally had a quite prac- rhein-nahe (Windesheim) Hessisches Universität Würzburg, Landesmuseum also exist further museums that display Museum Glockengießerei Institut für Musikforschung - Heimatmuseum Nauheim, Darmstadt, Studiensammlung Musikinstrumente musical instruments alongside other objects; Mabilon Abteilung Musikinstrumente Musikinstrumen- tical purpose: being a ‘trade museum’, it (Saarburg) tensammlung Ausstellung „Vision Bubenreutheum“ (Bubenreuth) owing to the generally small size of their Museum Bassermannhaus für collections, they too have been excluded. Musik und Kunst (Mannheim) Deutsches Hirtenmuseum provided local instrument makers with Germanisches Nationalmuseum, Musik- (Hersbruck) Technik Museum Speyer & Museum instrumentensammlung (Nürnberg) Wilhelmsbau, Abteilung für Mechanische Badisches Landes- Information on exhibition policies, collection models for the manufacture of their in- Musikinstrumente museum, Deutsches Stadtmuseum im Spital, Musikinstru- focuses and visiting addresses of the facilities Musikautomaten mentensammlung des Geigenbauers shown here can be found at Museum (Bruchsal) Johann Stüber (Crailsheim) struments and visual aids for teachers at Museum der Stadt Ettlingen, www.miz.org/institutionen/ Sammlung mechanischer Musik- Orgelmuseum Kelheim musikinstrumentensammlungen-museen- instrumente und Uhren Landesmuseum Württemberg, the trade school of instrument making, Haus der Musik im Fruchtkasten (Stuttgart) gedenkstaetten-s32 Oberhausmuseum Passau, Glockenmuseum Stiftskirche Eberhard Karls Universität Tübingen , Musikinstrumentensammlung Herrenberg Instrumentensammlung KlangKörper - thereby ensuring that they kept abreast Stiftung Karl Ventzke Kunstsammlungen und Museen Augsburg, Musikinstrumentensammlung Orgelbauersaal der Waldkircher Orgelstiftung Musikhistorische Sammlung of international developments. Elztalmuseum, Regionalgeschichte Jehle (Albstadt) Bayerisches Nationalmuseum München, und Orgelbau (Waldkirch) Deutsches Museum, Musik- Musikinstrumentensammlung Deutsches Harmonika- instrumentensammlung Stiftung Historischer Tasteninstru- museum Trossingen (München) Münchner Stadtmuseum, Sammlung Musik mente der Sammlung Neumeyer- Tango- und Bandoneon- Junghanns-Tracey (Bad Krozingen) Museum der Stadt Füssen, Kultur- und Orgelzentrum (Valley) Though most of today’s noteworthy col - museum Staufen Abteilung „Füssener Lauten- u. Geigenmacher“ Cartography: S. Dutzmann Trompetenmuseum lections were in fact founded in the Bad Säckingen Leipzig, 2018 Stadtmuseum Lindau, Sammlung 19th century, the objects displayed in mechanischer Musikinstrumente Geigenbaumuseum (Mittenwald) National boundary 025 5075 100 km © German Music Council/ State boundary German Music Information Centre musical instrument museums often de- rive from private collections or from the 496 497 Music Museums and Musical Instrument Collections |

holdings of former courts or aristocratic houses. The unique historical collections has more than 9,000 objects illustrating the evolution of European musical instru- of instruments owned by the Wittelsbach dynasty in the 17th and 18th centuries, ments from the Renaissance to the present day, as well as mechanical instruments, to choose but one example, entered the holdings of the Bavarian National Muse- historical sound recording devices, non-European musical instruments and an um in Munich. icono graphical collection. The collections in both Berlin and Leipzig were originally designed for purposes of study at the local music school or university, respectively. Among the ‘global players’ of musical instrument museums are those at Leipzig To the present day they have pursued a scholarly approach that also encompass- University, the Germanic National Museum in Nuremberg and the Musical In- es such topics as historically informed performance practice and the history of strument Museum in Berlin. The latter dates back to 1888, when a ‘collection of interpretation. The Germanic National Museum in Nuremberg, founded in 1852, old musical instruments’ was established under the auspices of Joseph Joachim collected musical instruments from the very beginning, many of which came from and Philipp Spitta in what was then known as the Royal Academic High School of the city’s churches. Today the collection primarily consists of European instru- Music. Its basic stock of 34 instruments from the holdings of the Prussian Cham- ments of every type, with 3,000 objects ranging from the 16th to 20th centuries. ber of Art was augmented in 1902 by two collections from the Leipzig publisher and music dealer Paul de Wit and the private collection of César Snoeck, a solicitor Other smaller collections, such as the Historical Keyboard Instrument Founda- based in Ghent. At present the museum can boast of some 3,200 instruments re- tion of the Neumeyer-Junghans-Tracey Collection at Bad Krozingen Castle, have lated to art music of the 16th to 20th centuries. The Musical Instrument Museum achieved national and even international stature owing to the exclusive nature of of Leipzig University likewise stems from the collections of Paul de Wit. Today it their holdings. As in many similar cases, the instruments were gathered together by private collectors.

From 2009 to 2011 nine European museums joined forces to work on the MIMO research project (Musical Instrument Museums Online) with the goal of making all the instruments in their collections accessible online. The German institutes in- volved in this project were the Musical Instrument Museum of Leipzig University, the Germanic National Museum in Nuremberg and the Ethnological Museum of Berlin’s State Museums. Today more than 65,000 objects can be examined online. 1 Another joint research project is ‘MUSICES’, a guide to three-dimensional x-ray computer tomography of musical instruments, funded by the German Research Foundation and compiled from 2014 to 2018 by the Germanic National Museum and the Development Centre for X-Ray Technology at the Fraunhofer Institute for Integrated Circuits.2 Among the applicants were the Musical Instrument Museum and the Ethnological Museum in Berlin and the Musical Instrument Museum of Leipzig University.

Several German colleges and universities have likewise established musical in- TheTTh exe hibition of mmusical instruments at the strument collections for purposes of study. The facilities range from very large Germananic NNational Museum in Nuremberg collections of historical instruments (e.g. the collection at the Department of

498 499 Music Museums and Musical Instrument Collections |

Musicology of Göttingen University, with 1,700 European instruments from rural folk traditions and European art music) to musical instruments of the modern era. The collection at Folkwang University of the Arts in Essen also includes electronic, mechanical and electro-mechanical instruments from the synthesizer to the mixing desk. The Institute for Computer Music and Electron- ic Media (ICEM) at that same university is concerned with reconstructing the sound of electronic music, e.g. from the 1950s, for which the original equipment is indispensable.

MUSEUMS WITH AN EMPHASIS ON REGIONAL MUSIC HISTORY

Some 20 regional museums in Germany display musical instruments and other musical items (often alongside other collections) in the context of local mu- A gamelan on display at theth Rauten- sical or cultural history. Among the many music centres that arose in Germany ststrrauca h-JhJJoest Museum in Cologne owing to its partition into myriad princedoms are the residential capitals of Son- dershausen and Rudolstadt in Thuringia. By 1600 Sondershausen already had the earliest instrumentalists employed at a court. Beginning in 1617 Michael Praetorius established a court chapel there. The resultant Loh Orchestra numbered among ETHNOLOGICAL MUSEUMS AND COLLECTIONS the leading orchestras in 19th-century Germany, exercising a great inﬂuence on the successes of Richard Wagner and Franz Liszt. Today the instruments of the former Musical instruments from non-European cultures are found primarily in ethno- princely court chapel are found in the Castle Museum alongside a collection of logical museums. The objects in these collections are divided by large geo- 18th-century musical manuscripts. In the 19th century the emerging middle class es graphical region or continent or by universal aspects of life in various cultures, created centres of music outside the court environment. It was owing to these juxtaposed for purposes of comparison. As human culture becomes increasingly developments in cultural history that the City Museum in Braunschweig ac quired diverse, ethnological museums gain in signiﬁcance, for they convey musical life musical instruments formerly owned by the Brüderkirche and the Civil Guard. in a wide range of cultures and preserve both tangible and intangible cultural The importance of urban infrastructure for local musical culture is the theme of her itage. Prime examples include the Rothenbaum Museum in Hamburg (known the Märkisches Museum of Berlin’s City Museum Foundation, which displays me- as the Museum of Ethnology until 2018) and the musical instrument collection of chanical instruments as testaments to Berlin’s musical life between street music the Rautenstrauch-Joest Museum in Cologne. Pride of place must go to the Ethno- and middle-class parlours. Some museums at the state level contain not only musicology Division of the Ethnological Museum in Berlin’s State Museums, for it instrument collections but also documents on the musical life and creativity in harbours the gramophone archive founded by Carl Stumpf and Erich von Horn- the region concerned, including sheet music, theatre playbills and concert pro- bostel. This archive contains more than 150,000 recordings of non-European music grammes from various institutions. and European folk music. With roughly 3,000 objects, it also preserves a large proportion of the non-European musical instruments in Germany, to which must be added many further instruments in the collections of the Ethnological Muse- um’s regional branches. The scheduled removal of these collections to the newly

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reconstructed Berlin City Palace has kindled heated debates, for the sound archive reach programmes that aim to spread awareness of collections through hands-on contains recordings from prisoner-of-war camps and objects from Germany’s for- experience, especially to young visitors, several music museums have emerged in mer colonies. Germany that allow visitors to try out various instruments with educational su- pervision. Berlin’s privately OTHER MUSEUMS fund ed Sounding Museum Musicians’ museums and musical instrument col- (Klingendes Museum Berlin), lections in Germany are displayed on the website One relatively new phenomenon in Germany’s museum landscape are muse- for example, uses buses to of the German Music Information Centre, arranged ums devoted to popular music, combining the concept of a musician museum with visit schools, day-care cen- by points of emphasis and thematic orientation. ideas from cultural sociology. They also take into account that the origin and evo- tres and events. A similar ap- lution of rock and pop music are inseparably connected with musical instruments, proach is pursued by the Mobile Music Museum in Düsseldorf. The ‘learning and from the electric guitar to the Hammond organ and the Moog synthesizer. As one experimentation workshop’ musiculum in Kiel appeals to children and young example, Gronau, the birthplace of the rock musician Udo Lindenberg, has created people with school projects and courses that allow them to discover instruments, a museum devoted to the cultural history of 20th-century popular music. design sound objects or even produce their own songs.

Likewise outside the standard canon of museums are those devoted to music CONSERVATION AND RESTORATION education. Rather than viewing themselves as institutions that collect, preserve , document and study objects, they focus on learning and experimentation for One challenge faced by all music museums is the proper conservation and pre- disabled and non-disabled children and young people. In the wake of music out- sentation of their collections, which generally have an acoustic aspect that cannot be preserved and displayed like other artefacts or utilitarian objects. Musical instruments in museums are indeed used for making music, whether in concerts, during guided tours or for audio recordings. To this end they must be rendered playable, tuned, oiled, tended and cleaned. Museum objects should only be subjected to such treatment if it helps them to be perceived, appreciated and understood. Museums must constantly decide whether the changes made to an object are ethically per- missible, especially in the case of musical instruments, where such changes may be irreversible. In recent years the ﬁeld of restoration has become increasingly standardised and its training subjected to academic strictures. But owing to their het ero - geneous organisational structures, not all museums have permanent staff for restoration work, and many must turn to traditional artisans and the free market.

CHALLENGES OF THE DIGITAL AGE

Wherever visitors can turn to digitised versions instead of originals, docu- AAv vieiew of the newly conceiveed permanentennt exex- ments and objects are protected. In consequence, recent years have seen impor- hhibitition in the ‘rock’n’pop museum’’ iin Gronauau tant advances in the digitisation of documents and sources. Moreover, free access

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to scholarly information via the open-access presentation of digitised objects has captured the attention of the public.

The Musical Instrument Museum of Leipzig University, for instance, has currently joined forces with the university’s Department of Image and Signal Processing in ‘TASTEN’, a digitisation project funded by the Federal Ministry of Education and Research to catalogue, acoustically digitise and photograph historical keyboard instruments in dimensional linear matrices. Its aim is to have access in future to machine-readable descriptive data, and not only to digitise the sonic repertoire but to reconstruct it through emulation.3 The availability of research ﬁndings and exhibits on the internet is heavily dependent on the manner in which the institutions are ﬁnanced, staffed and interlinked. Consequently, projects along these lines, especially in recent years, have been supported by the public sector (e.g. with funds from Animated theatre in the Handel House, Halle the German Research Foundation), the Federal Government Commissioner for Cul- ture and the Media, or by states, cities and municipalities. They also receive support from promotional associations and private donors. Digitisation projects are generally beyond the means of most museums unless they receive outside assistance. more about. Some museums link their guides with object locations via wireless signals, so that visitors always hear information on precisely the objects they hap- OUTREACH PROGRAMMES AND MUSEUM EDUCATION pen to be facing.

Music museums increasingly view themselves not only as sites of documen- Video clips and computer animation can be used to illustrate complex acoustical tation and conservation, but as active educational facilities. In museums devoted processes, the intricate construction of an object, the importance of a composer to musicians the focus of educational programmes falls on enlivening the life and to cultural history or the concert appearances of a particular performer. Today, work of the artist in question. Musical instrument collections increasingly place however, such media are primarily employed interactively, as passive observation their exhibits in the context of musical and social history. For this reason practically is seem ing ly undesirable to visitors and exhibitors alike. Here a balance must be all music museums offer special guided tours and programmes, especially for chil- struck between actionism and exploration. dren and young people, acknowledging that cultural education works best when the museum’s visitors are actively engaged. The potential of new interactive tech- Another means of conveying the research material of music museums lies in nologies is being increasingly exploited. The Toccarion in Baden-Baden, for exam- lecture-concerts that take into account the original sound of instruments and ple, makes it possible for visitors to conduct a virtual orchestra, to play a ‘walking provide information on aspects of historical performance practice. Special exhi- piano’ with their entire body or to construct rhythms on a ‘rhythm radar’ console. bitions, catalogues, symposia, lectures and seminars, sometimes in conjunction with universities, research institutes or visitors’ academies, round off the outreach Exhibitions in music museums can beneﬁt from the possibilities of audio guides programmes of these facilities. Moreover, several museums hold performance and/or ‘immersive’ sound installations in which the visitors themselves decide competitions with the aim of introducing works by particular composers into the which work by a composer they want to hear, or which object they wish to learn repertoire.

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Tourist attractions: Germany has six The Bach House in Eisenach museums devoted to the Bach family. Opposite page: The Leipzig Bach Museum The two largest are the Leipzig Bach Museum and the Bach House in Eisenach.

ASSOCIATIONS

A number of associations represent the interests of museums on the national and international level. The German Federation of Museums is the nationwide MUSIC MUSEUMS AS TOURIST ATTRACTIONS association for all museums in Germany. The Institute for Museum Research in Berlin’s Stiftung Preussischer Kulturbesitz (Prussian Cultural Heritage Foundation) According to the Institute for Museum Research, in 2016 roughly half of Ger- is a nationwide research and documentation facility that represents the concerns many’s museums of cultural history were visited mainly by tourists.4 Thus cul- of the Foundation, the federal government and the German states within a pan- tural tourism, in which guided city tours are offered to culturally minded visitors, European context. The German Musicological Society has a special chapter for has recently become a major area of activity for museums. The focus increasingly the study of musical instruments that functions as a forum and clearinghouse for tends to fall on collaborations with the tourist trade industry, the improvement of information regarding instrument collections attached to research institutes and local infrastructure (public transport, signposting, restaurants, cafés), the adjust- universities. The working group ‘Music Museums in Germany’ represents a num- ment of opening hours, an emphasis on service, multilingual supervisory staff and ber of important establishments devoted to preserving the legacy of outstanding accessibility for disabled people. Many visitors show particularly great interest composers and artists. in programmes, concerts or workshops tailored for children. Even such mundane things as the presence of a gift shop can be decisive for the number of visitors to a On an international level, museums are organised in the International Council museum. Here it is crucial to pinpoint the institution’s strengths and weaknesses of Museums (ICOM), which is devoted to the cause of conserving, cultivating with visitor surveys and evaluations and to develop appropriate improvements. and communicating the world’s cultural heritage. Its internationally valid Code of Ethics for Museums calls for a documentation of museum collections ‘in accor- dance with generally recognised professional standards’. The ICOM works in many

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Hamburg’s ‘KomponistenQuartier’: the Brahms Museum, interior fresh ideas for permanent displays and appealing special exhibitions and updated view (left), exterior view (right) websites and databases.

Given that these institutions are sustained by the federal government, states, com- munities, foundations, associations and private individuals, the financing of museums is extremely complex. As a result, many museums face an uncertain future, as reflected not only in staff shortages and inflexible opening hours, but in the hiring of museum educators, consistent outreach work, appropriate conservation and sustained research on their holdings. Which paths individual museums choose to follow in order to cope with these problems is heavily dependent not least on the circumstances in their particular region or locality.

Heike Fricke is a scholarly assistant at the Musical Instrument Museum of Leipzig University. She has also worked at the Musical Instrument specialised commissions and committees, with music museums being organised Museum at the State Institute of Music Research in Berlin, the musical in the CIMCIM (Comité international pour les musées et collections d’instruments instrument collection at Edinburgh University and at the Metropolitan et de musique). Museum of Art in New York.

PROSPECTS FOR THE FUTURE

The tasks of music museums have changed remarkably in recent years and undergone considerable expansion. The traditional duties of collecting, preserving, 1 See ‘MIMO – musical instrument museums online’ at communicating have become more transparent, and more complex, owing to the http://www.mimo-international.com (accessed on 14 September 2018). modern demands placed on cataloguing, documentation, site administration and 2 See the project description at http://gepris.dfg.de/gepris/projekt/ provenance research. At the same time conservation and restoration are becoming 248476191 (accessed on 14 September 2018). increasingly standardised, professionalised and placed on a more scholarly basis. 3 See the project description at http://mfm.uni-leipzig.de/dt/Forschung/ Tastenprojekt.php (accessed on 24 September 2018). Inﬂuenced by Anglo-American models, museum education in Germany is under- 4 See Institut für Museumsforschung, ed., Statistische Gesamterhebung going a transformation that places the main focus on visitors and their active role an den Museen der Bundesrepublik Deutschland für das Jahr 2016 (Berlin, in the museum. Many museums have realised that a museum’s theme and contents, 2017), p. 31; online at https://www.smb.museum/fileadmin/website/ the architecture of its building, its interior décor and the design of its exhibitions Institute/Institut_fuer_Museumsforschung/Publikationen/Materialien/ are of crucial importance to its attractiveness. Expressions of this transformation mat71.pdf (accessed on 9 October 2018). The total number of visits to include the widespread remodelling and new construction of museum buildings, special museums of cultural history in 2016 was approxi mately 11 mil- lion, or roughly 10 per cent of all museum visits in Germany (ibid., p. 27). 508 509 MusicAl life in Germany

This publication has been made possible by the kind support of the Minister of State for Culture and the Media. First edition, Bonn, March 2019 (German) and December 2019 (English)

Publisher The German Music Information Centre is supported by: German Music Council German Music Information Centre

Editorial office Stephan Schulmeistrat, Dr Christiane Schwerdtfeger

Picture editor Dr Karin Stoverock

Editorial assistants Tobias Meyer, Christiane Rippel, Timo Varelmann

Advisers Dr Jürgen Brandhorst (GEMA Foundation) | Prof. Dr Andreas Eckhardt | Dr Tilo Gerlach (Collecting Society for Performance Rights, GVL) | Prof. Reinhart von Gutzeit | Bernd Hawlat (German Broadcasting Archive, DRA) | Elisabeth Herzog-Schaffner (German Musicians’ Association, DTKV) | Prof. Christian Höppner (Ger- man Music Council) | Prof. Dr Joachim-Felix Leonhard, State Secretary ret. | Elisabeth Motschmann, MP | Stefan Piendl (German Music Council) | Prof. Dr Wolfgang Rathert (LMU Munich) | Dr Martina Rebmann (Berlin State Library – Prussian Cultural Heritage Foundation) | Prof. Dr Dörte Schmidt (Berlin University The translated version of this publication of the Arts) | Dr Heinz Stroh (German Music Publishers Association, DMV) | Antje Valentin (State Music was made possible by the kind support Academy of North Rhine-Westphalia) | Prof. Wolfgang Wagenhäuser (Trossingen University of Music) | of Hal Leonard Europe GmbH. Prof. Dr Robert von Zahn (State Music Council of North Rhine-Westphalia)

Translation: Dr Bradford J. Robinson Proofreading: Susanna Eastburn, Keith Miller

A publication of the German Music Information Centre

2 3 Picture credits

Note We wish to express our gratitude to all those persons and institutions that generously placed pictorial The present volume is an English translation of the German-language publication Musikleben in Deutsch- material at our disposal. Without their support this multifaceted view of ‘Musical Life in Germany’ land, which appeared in March 2019. The editorial deadline for the German edition was 30 September 2018; would not have been possible. information published after that date has been taken into account wherever possible and meaningful. All

the information has been obtained and checked with maximum care. Nonetheless, neither the German Unless otherwise indicated, picture credits on pages with more than one photograph occur line by line from left to right. Music Council nor the German Music Information Centre can assume liability for its accuracy. Readers are

invited to send all questions and comments regarding the contents to Title page/spine/bookmark: a member of the Youth Symphony Orchestra of Leipzig Music School performing at the German Orchestra Competition in Ulm, 2016. © Jan Karow

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Ch. 4 | Music Communication Ch. 9 | Music Theatre

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Ch. 14 | Jazz Ch. 19 | Music Museums and Musical Instrument Collections

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