Musical Myths and Facts, Volume 1 (of 2). Engel Carl
king were usually deposited in a room appropriated to their reception. The same appears to have been the case in the Temple of Jerusalem. King David had, it is recorded, musical instruments made of a wood called berosh, which afterwards, under the reign of Solomon, were made of algum, or almug, a more precious wood imported from foreign districts. King Solomon, being in possession of superior instruments, probably preserved the inferior ones of his father as venerated memorials; and the kinnor upon which David played before Saul may have been as carefully guarded by King Solomon as the Emperor of Germany guards in his cabinet of curiosities the flute of Frederick the Great.
Howbeit, Josephus records that Solomon had made for the musical performances at the dedication of the Temple a large number of stringed instruments and trumpets, all of which were kept together in the Temple with the treasures. It is not likely that at so early a period collections of antiquated instruments were formed for any scientific purpose; the art of music was too much in its infancy to suggest the preservation of evidences elucidating its gradual development.
The collections of ancient and scarce musical instruments which, in modern time, have been made in several European countries are very interesting to the lover of music, although they have, in most instances, evidently been formed less with the object of illustrating the history of the art of music than for the purpose of preserving curious and tasteful relics of bygone time, or of exhibiting characteristic contrivances of foreign nations.
In Italy some of the Conservatories of Music possess antiquated instruments of great rarity. Curious old spinets, lutes, mandolines, and guitars, are said to be found dispersed among private families and in convents, especially in Naples and its vicinity. In the Liceo Comunale di Musica, at Bologna, are deposited above fifty instruments, among which are an Italian cither (cetera) of the beginning of the sixteenth century; an archlute by "Hieronymus Brensius, Bonon" (Bologna); a chitarrone, by "Matteo Selles, alla Corona in Venetia, 1639;" a chitarrone inscribed "In Padova Uvendelio Veneto, 1609;" a theorbo by "Hans Frei in Bologna, 1597;" a lute by "Magno Stegher in Venetia." A lute, "Magno Dieffopruchar a Venetia, 1612." This lute has fourteen strings arranged in seven pairs, each pair being tuned in unison. Several marine trumpets, one of which bears the inscription, "Pieter Rombouts, Amsterdam, 17." A viola da gamba, inscribed "Antonius Bononiensis." A sordino, or pochette, by "Baptista Bressano," supposed to date from the end of the fifteenth century. Its shape is peculiar, somewhat resembling that of the Portuguese machête, representing a fish. A viola d'amore, with the inscription "Mattias Grieser, Lauten and Geigenmacher in Insbrugg, Anno 1727;" two curious old harps; an old tenor flute, measuring in length about three feet; some curious double flutes; cornetti, or zinken, of different dimensions. An archicembalo. This is a kind of harpsichord with four rows of keys, made after the invention of Nicolo Vicentino, and described in his work "L'Antica Musica ridotta alla moderna prattica. Rome, 1555." The compass of this archicembalo comprises only four octaves; but each octave is divided into thirty-one intervals, forming in all one hundred and twenty-five keys. It was made by Vito Trasuntino, a Venetian, who lived towards the end of the sixteenth century, and who added a tetracordo to it, to facilitate the tuning of its minute intervals. However, the archicembalo was probably not the first instrument of the harpsichord kind which contained an enharmonic arrangement of intervals. The clavicymbalum perfectum, or Universal-clavicymbel, which Prætorius states he saw in Prague, and which was likewise made in the sixteenth century, was of a similar construction. One of the most singular instruments in the collection of the Liceo Comunale de Musica at Bologna is the cornamusa, which consists of five pipes inserted into a cross-tube, through which they are sounded. Four of the pipes serve as drones; and the fifth, which is the largest, is provided with finger-holes, like the chanter of a bagpipe. The instrument has, however, no bag, although it is probably the predecessor of the species of bagpipe called cornamusa.
Instruments played with a bow of the celebrated Cremona makers are at the present day more likely to be met with in England than in Italy. In the beginning of the present century Luigi Tarisio, an Italian by birth, and a great connoisseur and collector of old violins, hunted over all Italy and other European countries for old fiddles. To avoid the high custom dues which he would have had to pay on the old instruments, he took them all to pieces, as small as possible, and carried the bits about him in his pockets and in a bag under his arm. So thoroughly was he acquainted with his acquisitions that, having arrived at the place of his destination, he soon restored them to their former condition, assigning to each fragment its original position. Tarisio made his first appearance in Paris, in the year 1827, with a bag full of valuable débris from Italy; and he continued his searches for nearly thirty years. During this time he imported into France most of the beautiful violins by Antonius Stradiuarius, Joseph Guarnerius, Bergonzi, Montagnana, and Ruggeri, which are of highest repute, and the greater number of which have afterwards found their way into England.
In Germany we meet with several collections of interest. The Museum of Antiquities, at Berlin, contains, among other musical curiosities, well-preserved lyres which have been found in tombs of the ancient Egyptians. The Gesellschaft der Musikfreunde ("Society of Lovers of Music"), at Vienna, possesses a collection of antiquated instruments, among which are noteworthy: a viola di bardone by Jacobus Stainer, 1660; a viola di bardone by Magnus Feldlen, Vienna, 1556; a viola di bardone by H. Kramer, Vienna, 1717; a viola d'amore by Weigert, Linz, 1721; a viola d'amore by Joannes Schorn, Salzburg, 1699; a tromba marina (marine trumpet) by J. Fischer, Landshut, 1722; a lute by Leonardo Tieffenbrucker, Padua, 1587; a theorbo by Wenger, Padua, 1622; a theorbo by Bassiano, Rome, 1666; a Polish cither by J. Schorn, Salzburg, 1696; a large flute made in the year 1501; an old German schalmey (English shalm or shawm) by Sebastian Koch; an old German trumpet by Schnitzer, Nürnberg, 1598; an oboe d'amore, made about the year 1770, etc.
A curious assemblage of scarce relics of this kind is also to be found in the Museum of the Germanic Society at Nürnberg. The most noteworthy specimens in this collection are: two marine trumpets, fifteenth century; a German cither with a double neck (bijuga-cither) sixteenth century; a German dulcimer (hackbret), sixteenth century; a lute by Michael Harton, Padua, 1602; a viola da gamba by Paul Hiltz, Nürnberg, 1656; a viola d'amore, with five catgut strings, and eight sympathetic wire strings, seventeenth century; an arpanetta (harpanetta, German spitzharfe) mounted on one side with brass wire, and on the opposite side with steel wire, sixteenth century; a clavecin with finely painted cover, by Martinus van der Biest, Antwerp, 1580; two German zinken (cornetti) sixteenth century; two specimens of the bombardo, viz., a German alt-pommer and tenor-pommer, by J. C. Denner, seventeenth century; some specimens of the cormorne (German krummhorn) of the sixteenth and seventeenth centuries; a trumpet made by J. C. Kodisch, Nürnberg, anno 1690; a splendid brass trombone (German bass-posaune) ornamented with the German eagle and imperial crown, made by Friedrich Ehe, in Nürnberg, anno 1612; a Polish bagpipe, seventeenth century; a syrinx of reeds covered with black leather, sixteenth century; eight military pipes, made by H. F. Kynsker, in Nürnberg, seventeenth century; a small portable organ (regal) with two rows of keys, sixteenth century. The regal has become very scarce. There are only a few specimens known to be in existence; one, of the sixteenth century, is in the possession of the Chanoinesses de Berlaimont, at Brussels; another, made about the middle of the seventeenth century, belongs to the Duke of Athol, and is at Blair Athol, in Scotland; another, which belongs to Mr. Wyndham S. Portal, Malshanger, Basingstoke, is in the shape of a book, and its pipes have reeds, or vibrating tongues of metal. This regal, which probably dates from the sixteenth century, is of the kind which was called in German Bibelregal, because it resembles a Bible in appearance.
Old musical instruments are generally so fragile, and were formerly thought so little of when they came out of use, that it is perhaps not surprising to find of those dating from a period earlier than the sixteenth century very few specimens, and these have generally been altered, and it is seldom that they have been properly restored to their original condition. As an instance how valuable specimens are gradually becoming more and more scarce, may be mentioned the interesting collection of obsolete German harps, pipes, and trumpets, dating from a period anterior to the year 1600, which was preserved in the Town Library of Strassburg, and which, at the recent bombardment of the town, was reduced to ashes. It contained, among other curiosities: a cornetto curvo; some specimens of the cornetto dritto; a flauto dolce. Several specimens of the bombardone, the predecessor of the bassoon; a dulcinum