American Musical Instruments in The Metropolitan Museum ofArt haurence Lihin AMERICAN MUSICAL INSTRUMENTS in The Metropolitan Museum of Art AMERICAN MUSICAL INSTRUMENTS in The Metropolitan Museum of Art LAURENCE LIBIN THE METROPOLITAN MUSEUM OF ART NEW YORK W. W. NORTON & COMPANY NEW YORK LONDON This publication is made possible through the generous support of Mr. and Mrs. Gordon P. Getty. Published by The Metropolitan Museum of Art, New York, and W.W. Norton & Company, Inc., New York. Published simultaneously in Canada by Penguin Books Canada Ltd, 2801 John Street, Markham, Canada L3R IB4. The Metropolitan Museum of Art Bradford D. Kelleher, Publisher John P. O'Neill, Editor in Chief Barbara Burn, Project Supervisor Dinah Stevenson, Exiitor Copyright © 1985 by The Metropolitan Museum of Art Library of Congress Cataloging in Publication Data Libin, Laurence. American musical instruments in The Metropolitan Museum of Art. Bibliography: p. 213 includes index. 1. Musical instruments—United States. L Metropolitan Museum of Art (New York, N. Y.) IL Title. ML476.L5 1985 781.91'0973 85-4817 ISBN 0-87099-379-8 (MMA) ISBN 0-393-02277-3 (W.W. Norton) The photographs for this volume were taken by the Photograph Studio of The Metropolitan Museum of Art and by Stewart Pollens of the Museum's Department of Musical Instruments, unless otherwise credited. Composition by David E. Seham Associates, Inc. Colorplates printed by Colorcraft Lithographers, Inc. Black-and-white pages printed by Rae Publishing Company Printed in the United States of America 1234567890 1 Contents Foreword by Philippe de Montebello 7 Preface by Henry Steinway 9 Introduction 1 Colorplates 17 Noisemakers, Toys, Percussion, and Miscellanea 33 Winds 65 Strings 99 Keyboards and Automata 155 Notes 212 Selected Bibliography 213 Index of Works by Accession Number 218 Index 220 Foreword Although small in comparison to other depart- revelation to hear early music played on the in- ments within the Metropolitan Museum, the De- struments for which it was intended; the effect partment of Musical Instruments exerts an is akin to cleaning away layers of discolored var- influence that transcends size and place. Record- nish to reveal a painting's vivid, true colors. ings, broadcasts, and concerts presented on many No less attractive to the eye than to the ear, of the Museum's instruments in recent years have the Museum's many European instruments dating earned widespread recognition for advancing the from the Middle Ages through the nineteenth cause of historically authentic performance. Ex- century enrich our understanding of decorative cept for these instruments, no objects in the Mu- arts and the vital place of music on all levels of seum's collections currently serve the practical Western society. Further, non-Western instru- purposes for which they were designed. Hence, ments, constituting nearly two-thirds of the entire our instruments constitute a unique "living" re- collection, represent an astonishing wealth of un- pository whose effects reach beyond the Mu- familiar forms, materials, significant ornaments, seum's walls. Such activity has been made and acoustical principles that testify to mankind's possible by the Department's concern with sci- inventiveness and aesthetic impulse. Covering entific conservation and restoration, the result of six continents and more than four thousand years, daily collaboration between the Department's this assemblage runs a gamut unsurpassed at any curator, Laurence Libin, master restorer Stewart other museum. Pollens, and a highly skilled staff. It may seem strange that only a relatively small As it has been for nearly a century, the musical part of this comprehensive collection is devoted instruments collection remains a place of pilgrim- to instruments of our own country. Partly this age for instrument makers, musicologists, and reflects some reluctance to acquire commonplace performers seeking information and inspiration. material; indeed, acquisitions today must be lim- The beautifully installed Andre Mertens Galleries ited to a few outstanding products of exemplary for Musical Instruments also offer a rare visual quality, lest scarce storage space be overwhelmed refreshment for casual visitors. Those who follow by readily available commercial items better pre- Curator Libin's entertaining and instructive audio served at a museum of American history than of guide cannot remain unmoved by the aural effect fine art. There will be time enough in the future of the eight hundred instruments on display. to single out those American instruments of recent These include such treasures as the oldest extant manufacture that best express our musical as- piano, invented by Bartolomeo Cristofori at the pirations; right now our priorities favor preserv- Medici court in Florence, and a Stradivari violin ing rarer artifacts of a vanishing past. But there of 1693, the only "Strad" thus far to have been is always room for new creations that meet the restored to its original Baroque condition. It is a criterion of outstanding quality. 7 Another reason American instruments have It is a pleasure to thank those who have sup- been underrepresented, not only in this museum ported the publication of this book, notably Gor- but in others as well, has been the unfortunate don and Ann Getty, whose generous gift has bias of previous generations, who, having been been responsible for its expeditious appearance. reared in a European tradition, tended to assume Other contributors are gratefully acknowledged the superiority of foreign-made instruments. As in the author's introduction. There remains only the present book shows, such prejudice is unjus- to express my personal delight that an often over- tified, and Laurence Libin through his musical looked aspect of the Metropolitan Museum's and scholarly acumen has made a vigorous effort holdings, and of American culture, is now being to redress the imbalance. The scores of American brought before the public. I hope this book will instruments he has acquired for the Museum stimulate further interest and research, and thus demonstrate a commitment to excellence and fulfill the Museum's fundamental goals. curatorial fairness that Mrs. John Crosby Brown, the founder of the collection, would have ap- Philippe de Montebello plauded. Director 8 Preface This book, which documents only a small part but this book and the objects it describes will of one of the world's great musical collections, help overcome that old prejudice. For a long time gives for the first time a comprehensive overview American pianos have been regarded as a world of America's instrumental heritage. From toy ka- standard. Here, other sorts of instruments of zoos and minstrel "bones" up to the most sophis- equal significance receive the attention they de- ticated keyboard and orchestral instruments, the serve. In the Metropolitan Museum they are dis- distinguished author describes the form and con- played side by side with foreign counterparts and struction of each example, discusses musical and do not suffer by comparison. When played in social functions, and relates important biograph- the Museum's musical programs and recordings, ical facts about makers, some of whom were vir- their tonal virtues too become apparent. tually unknown before Laurence Libin's extensive In going further, American craftsmen have researches. Mr. Libin has not let sound scholar- fostered the development of instruments such as ship overwhelm us with details, however, but the Appalachian dulcimer, banjo, electric guitar, has provided a highly readable story, using the and certain types of rotary-valved brasses and remarkable objects in his care as the focal point reed organs, thus giving the world something for a wider discussion of America's accomplish- musically unique and enriching. Ensembles such ments in instrument manufacture from colonial as the post-Civil War brass band or the jazz and times to the present. "jug" bands of earlier in this century would have Until now, little of a general nature has been been unthinkable without America's contribu- published on this interesting aspect of American tions, discussed here with respect and affection. material culture, made up as it is of strands from Also considered are some curious patented nov- many different nations, social classes, and levels elties of little enduring usefulness but showing of technology. We should be proud of this diver- much Yankee ingenuity, as well as sound-pro- sity and grateful that it is represented so well in ducing implements such as sleigh bells that are the following words and illustrations. When my not essentially musical but deserve a place in this German ancestors started making pianos in New catalogue owing to their aural purpose. York in the middle of the last century, they soon Truly, in this rich collection everyone will find found that simply making a superior instrument something surprising, something familiar but seen was not enough; they had also to convince influ- in a new light, something revealing of over two ential musicians and the public that any such centuries of musical endeavor. I hope that other product made in America could really be as good readers will take as much pleasure and pride as I as what came from European factories. The idea do in learning more about the fascinating tools that anything musically good has to come from of America's musicians. Europe unfortunately lingers even to our day, Henry Steinway 9 Introduction Musical instruments serve a great many functions. and "fiddling away" for wasting precious time. Musicians, of course, regard them as refined, In more worldly societies many instruments sensitive tools. For the musicologist they embody echo serious purposes. Trumpets and kettledrums tangible evidence of how music sounded before still call to mind the pompous processions of the advent of recording. Making and selling in- royalty. Bugles, fifes, and snare drums summon struments provides a livelihood for craftsmen, the image of battle. Horn passages in classical the best of whom express aesthetic aims through music may recall the hunt and other virile outdoor their products.