CATALOGUE OF MUSICAL INSTRUMENTS IN THE VICTORIA AND ALBERT MUSEUM Part I: KEYBOARD INSTRUMENTS by Howard Schott Part II: NON-KEYBOARD INSTRUMENTS by Anthony Baines Catalogue of MUSICAL INSTRUMENTS in the VICTORIA AND ALBERT MUSEUM Part I: Keyboard Instruments by Howard Schott Part II: Non-Keyboard Instruments by Anthony Baines New catalogue entries, supplementary notes and bibliography by James Yorke V&A PUBLICATIONS Catalogue of Musical Instruments, Volume I: Keyboard Instruments Originally published by HMSO, 1968, second edition 1985 Catalogue of Musical Instruments, Volume II: Non-Keyboard Instruments Originally published by HMSO, 1968, second edition 1978 First published as a single volume by V&A Publications, 1998 V&A Publications 160 Brompton Road London SW3 1HW ©The Board of Trustees of the Victoria and Albert Museum, 1998 Keyboard Instruments © Crown copyright 1968,1985 Non-Keyboard Instruments © Crown copyright 1968,1978 Howard Schott and Anthony Baines assert their moral right to be identified as authors of this book ISBN 185177 250 2 A catalogue record for this book is available from the British Library All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the Publishers. Printed in Hong Kong by Imago Front cover: Theorbo by Cristoforo Choc, about 1620. Ivory and ebony neck with rosewood ribbing. 7756-1862. Back cover: Jewelled spinet by Annibale Rossi, 1577. Covered with lapis lazuli, and other precious and semi-precious stones. 809-1869. Publishers' Note: This new single volume edition has been compiled from two volumes previously published separately. The pagination for each volume remains unchanged. A new Foreword, plus supplementary bibliography and endnotes to both volumes, have been added. FOREWORD TO ONE VOLUME EDITION Howard Schott and Anthony Baines' definitive catalogues of the musical instruments in the Victoria and Albert Museum, reissued as a single volume in 1998, have proved their worth by selling out. This 2002/3 edition is a reprint of the 1998 edition, which leaves the text and illustrations virtually unchanged. It has been made possible through generous donations from the John Radcliffe Trust and the Parnassus Foundation, courtesy of Jane and Raphael Bernstein. The V&A would like to thank Alec Cobbe, Esq., the Cobbe Collection Trust, the Marc Fitch Fund, the Leche Trust, the Harley Foundation, the John Radcliffe Trust and the Worshipful Company of Musicians for generously supplying the funding that made the 1998 edition possible. Renewed thanks to Edward and Antony Gobel, Professor Lawther and Alastair Laurence and Peter Thornton for their various generous contributions to this project. CHRISTOPHER WILK JAMES YORKE Victoria and Albert Museum, 2002 PLATES FIG. 115. FIG. 116. No. 20/3. Bass FIG. 117. Left to right. No. 20/4. Treble recorder by J. Schuchart. No. 20/1. Bass recorder by P. I. Bressan. London; first half of the 18th century. The main joint has been cut recorder. 16th or London; about 1700. down. No. 20/5. Treble recorder by J. M. Anciuti. Milan; 1740. This first half of the instrument is very prettily carved in ivory. No. 20/7. Treble recorder. 17th century. English; 18th century. No. 20/6. Treble recorder. Italian; early or mid- This is a very 18th century. This is veneered with tortoiseshell with gold pique and large instrument. mother-of-pearl inlay. FIG. 118 .Left. No. 20/9. FIG. 119. Left. No. 21/3. French flageolet by FIG. 120. Left. No. 21/4. Double flageolet by Tenor recorder by T. Prowse. London; before 1836. Centre. W. Bainbridge. London; early 19th century. Goulding & Co. London; No. 21/2. French flageolet by Holtzapffel. Paris; Right. No. 21/6. Triple flageolet by Hastrick. about 1800. first half of the 19th century. Right. No. 21/1. London; about 1835-55. Right. No. 20/8. Treble Bird flageolet. English; early 19th century. recorder. Probably English; late 18th century. FIG. 121. No. 21/7. Pipe and tabor. London; 19th century. One normally associates such one-man FIG. 122. No. 22/1. ensembles with peasant musicians; it is therefore curious to note that this set was made in fashionable Flute by P. J. Bressan. Pall Mall. For whom ? London; about 1710. A fine instrument made of ebony with silver pique ornament. FIG. 123. Left. No. 22/3. Flute. English; late 18th century. FIG. 124. Left to right. No. 22/9. Flute by Rudall Carte, London; Centre. No. 22/2. Flute by R. Potter. London; late 18th about 1892. No. 22/8. Flute by Rudall Carte. London 1871. century. Right. No. 22/4. Tenor flute by Cahusac. London; No. 22/7. Flute by Rudall & Rose. London; before 1850. No. 22/6. about 1800. Flute by T. Prowse. London; before 1836. FIG. 125 and A. No. 23/1. Oboe. Dutch; late 17th century. Carved on the bell of this handsome early oboe are scenes of dancers and musicians wearing contemporary costume. FIG. 126 to c. No. 23/2. Oboe by Anciuti. Milan; first half of the 18th century. The detail photographs show very clearly how fine is the quality of the carved decoration on this pretty instrument which once belonged to Rossini. FIG. 127. Left. No. 23/4. Oboe FIG. 128. Left. No. 23/6. Tenor oboe by FIG. 129. Left. No. 23/8. Tenoroon by R. de by W. Milhouse. London; Cahusac. London; late 18th century. Rosa. Naples; about 1830. early 19th century. Centre. No. 23/7. Musette. French; second Centre. No. 23/9. Bassoon by Goulding. London; Right. No. 23/3. Oboe by half of the 19th century. early 19th century. R. Potter. London; late 18th Right. No. 23/5. Tenor oboe by T. Stanesby, Right. No. 23/10. Bassoon by T. Key. London; century. junior. London; first half of the 18th century. early 19th century. FIG. 130. Two alto fagottos by FIG. 131. No. 24/1. Clarinet by FIG. 132. No. 24/2. Basset-horn. Possibly English; Wood & Ivy. London; about 1830. R. J. Bilton. London; after 1826. first quarter of the 19th century. An oblique view: they are in fact A piece of boxwood with a the same size. Left. No. 23/12. particularly attractive figure has Right. No. 23/11. been chosen for this instrument. FIG. 133. Top left. No. 25/2. Bagpipes (cornemuse). French; mid-18th century. Top right. No. 25/1. Bagpipes (musette). French; mid-18th century. Bottom. The bellows and instrument comprising No. 25/3. Bagpipes. FIG. 134. Top. No. 26/3. Serpent by Gerock & Wolf. London; about 1831. Centre. No. 26/1. Cornett. Probably Italian; late 16th century. Bottom. No. 26/2. Cornett. Italian or German; late 16th or early 17th century. FIG. 135 and A (opposite). No. 27/1. French horn by M. A. Raoux. Paris; about 1826. This has a design in green lacquer inside the bell. FIG. 136. Top. No. 27/2. Slide trumpet. English; second quarter of the 19th century. Bottom. No. 27/6. Soprano trombone by Allen & Pace. Birmingham; about 1870. FIG. 137. No. 27/5. Cornet by Charles Pace. London; second quarter of the 19th century. FIG. 138. Top. No. 27/3. Bugle horn. Bottom. No. 27/4. Key bugle. English; first half of the 19th century. SUPPLEMENTARY ENDNOTES AND BIBLIOGRAPHY TO NEW EDITION SUPPLEMENTARY ENDNOTES TO THE MUSICAL CATALOGUE KEYBOARD CATALOGUE NON-KEYBOARD CATALOGUE 1 (p 15/No 1) Denzil Wraight 'Vincentius and the earliest harpsi­ 14 (p 3/No.l/l) John Pringle. 'John Rose, the founder of English Viol chords'. Early Music, vol 14, no. 4, Oct. 1986 pp 534-538. Making', Early Music, vol. 6, no 4, Oct. 1978, pp.501-511 2. (p.24/No.4) Grant O' Brien 'Marco Iadra - A Venetian Virginal and 15. (p.6/No.l/10) John R. Catch: 'Prince Albert's Early Music', Galpin Harpsichord Builder', Historical Keyboard and Early Piano Studies Society Journal, XLII. 1989, pp.3-9. (Oxford, 1996). 16. (p 12/No 2/6) Gunther Hellwig. Joachim Ticlke — Ein Hamburger 3. (p 29/No.6) David Starkie (ed ): Henry VIII A European Court in Lauten - und Violenmacher der Barockzeit (Hamburg, 1980), England (London, 1991), p.105. pp.186-189 4 (p 32/No.7) Stefano Toffolo: Anticbi Strumenti Veneziani. 17 (p.16/No.3/2) John Dilworth: 'Early English sophistication', The '500-1800 Quattro secoli di luiteria c cembalaria (Venice, 1987). Strad, vol. 110, no. 1307, March 1999, pp.264-271. op 155-157. 18 (p.30/No.7/3) S. Toffolo op. cit,, pp 97-98. 5 (p. 43/No.11) Simon Jervis: 'Glass reliefs at Schloss Ambrass and the 19 (p 31/No.7/4) ibid pp.79-84. Victoria & Albert Museum', Burlington Magazine, Vol. CXXXII, No 20 (p 31/No 7/5) ibid, p.53 1046, May 1990, pp.350-353. 21. (p. 34/No 7/13) Robin Headlam Wells. 'Number Symbolism in the 6. (p.53/No.l5) Grant O' Brien: Ruckers A harpsichord and virginal Renaissance lute rose', Early Music, vol. 9, no 1, Jan. 1981, pp 22-31 building tradition (Cambridge, 1990), pp.9-10, 270. 22. (p.35/No 7/14) ibid. 7. (p.71/No 23).tbid.p.281. 23. (p.35/No.7/15) S.Toffolo: op cit. p.97. 8. (p.84/No.29) Virginia Pleasants. 'The Early Piano in Britain', Eaily 24 (p.38/No.8/2) Stephen Morey: The Mandolin in the 16th and 17th Music, vol 13, no.1, Feb. 1985, pp 39-44 century (Cremona, 1993), pp 20-23. James Tyler: 'The Italian 9. (p 109/No 42) Cristina Bordas. 'Dos Constructores de Pianos en Mandolin and Mandola, 1589-1900', Early Music, vol.