Smithsonian Libraries

Digitization Dispatch: How to listen to music, circa 1900

Blogs across the Smithsonian will give an inside look at the Institution’s archival collections and practices during a month long blogathon in celebration of October’s American Archives Month. See additional posts from our other participating blogs, as well as related events and resources, on the Smithsonian’s Archives Month website.

 

Weighing in at a mere 7 pages, On Certain Obstacles to the Highest Enjoyment of Music, provides an unexpectedly scathing glimpse into Daniel Chester French's musical perspective. One of the latest digitizations from the AAPG general collection, this thin volume is a veritable ode to his own imagination via a condemnation of the sensory distractions of other human beings. He hates the musicians and their "bald heads as highlights" to an already disagreeable scene littered with white cuffs and shirttails. He hates the lighting which calls attention to female vocalists who frustratingly replace the "beautiful invisible singer" conjured by his imagination. And don't get him started on the racket caused by fellow concert attendees. He does not care for their applause. That "Bravo!" is superfluous at best, and of course, an obstacle to the highest enjoyment of music at worst!

 

On certain obstacles to the highest enjoyment of music by Daniel Chester French

 

What would the late Mr. French think of John Cage's 1952 ode to ambient sound, "4'33"? The modern masterpiece is properly played when the musicians don't play their instruments so that the audience may give the unique sounds which arise their full attention. Perhaps he might have appreciated it's honesty and musing on silence as sound? Or at least had a chuckle at the thought of sacrificing "music" for the sake of other obstacles to listening enjoyment! 

Click here for a youtube clip of a BBC Four performance of "4'33"
Click here for an 1974 oral history interview with John Cage from the Archives of American Art. 

Works of Art by a Master Luthier

The National Museum of American History Library recently acquired a four volume set entitled Antonius Stradivarius edited by Jost Thone & Jan Rohrmann with text by Alessandra Barabaschi, et al.  A few of the instruments depicted in this work can be found on display at the museum.  This book provides background on these Stradivarius instruments.

Antonio Stradivari was born in Cremona, Italy around 1644.  He was probably apprenticed to the luthier Nicolo Amati and began crafting instruments prior to 1665, though these earlier creations are now lost.  Throughout his career, Stradivari created hundreds of instruments but only 620 are known to us today.  He died in 1737, around age 95.  His reputation as a master luthier and the influence of his instruments as works of art can still be felt every time one of his creations is played.  On display, in the Hall of Musical Instruments at the National Museum of American History, are four superb examples of his work.  Highlighted here are two of them.

The "Greffuhle" Violin, named for a former owner, Vicomte de Greffuhle, was constructed of spruce and maple around 1700 by Stradivari.  The front and back feature an inlay of ivory in a repeating pattern of lozenges and circles.  The sides of the violin are intricately carved and depict scrolling foliage with a rollicking chase scene between leopards and griffins.  This decoration, without the chase scene, can also be seen on the scroll of the violin.  The "Greffuhle" is one of eleven known instruments by Stradivari that are decorated.

Jost Thone & Jan Rohrmann, editors; text, Alessandra Barabaschi...et al.  Antonius Stradivarius.  [Cologne]:  Jost Thone Verlag, 2010.  Volume 3, pages 8-9, front and back of the "Greffuhle" Violin.

Jost Thone & Jan Rohrmann, editors; text, Alessandra Barabaschi...et al.  Antonius Stradivarius.  [Cologne]:  Jost Thone Verlag, 2010.  Volume 3, pages 10-11, sides and scroll of the "Greffuhle" Violin.

The "Servais" Cello, by Stradivari, was crafted in 1701 of spruce and maple and is his only known cello from that year.  This cello has a rich reddish-orange varnish which is pleasing to the eye.  On closer observation, traces of his design drawings can still be observed inside the f-holes.  This cello, highly valued among experts, is a top tier work with striking sound quality.  It is named after Adrien-Francois Servais, a Belgian cellist, who used this cello during his career.  He was known for using the technique of vibrato and was one of the pioneering cellists to utilize the modern end pin.

Jost Thone & Jan Rohrmann, editors; text, Alessandra Barabaschi...et al.  Antonius Stradivarius.  [Cologne]:  Jost Thone Verlag, 2010.  Volume 2, pages 134-137, "Servais" Cello.

The "Greffuhle" Violin and "Servais" Cello, both shown in the four volume set, Antonius Stradivarius, were given to the Smithsonian Institution as gifts and can be viewed in the Hall of Musical Instruments at the National Museum of American History.

—Alexia MacClain and Molly Reynolds, photos by Liz O'Brien

Related articles

• Preserving the heavenly sound of Stradivarius violins (cnn.com)

Uniforms that are "the stuff"

Previously we featured violins and guitars manufactured by Lyon & Healy. In addition to musical instruments, they also made marching band uniforms. This 1881 catalog entitled Lyon & Healy Band Instruments, Uniforms, Trimmings, &c. illustrates depictions of band uniforms and accessories. Pictured here is the "Lyon & Healy Band," directed by George W. Lyon, one of the founders of Lyon & Healy. This twenty piece band is shown here playing in a semi-circle formation in a garden. The band features clarinets, cornets, trombones, drums, and cymbals.

Lyon & Healy, Chicago, IL.  Lyon & Healy Band Instruments, Uniforms, Trimmings, &c., 1881, Lyon & Healy Band.

The members of the band are wearing uniforms that appear to be similar to the Style D type featured here. Their ensemble includes trouser pants with black heeled shoes and a tail coat with military-style embellishment, topped off with fringed epaulettes. The uniform is completed with an elaborate cap crowned with a plume. Lyon & Healy uniforms could be changed to "suit the tastes and pockets of all ... intending these as a basis, to which we can add to or take from as desired."

Lyon & Healy, Chicago, IL.  Lyon & Healy Band Instruments, Uniforms, Trimmings, &c.,
1881, page 113, Band Uniforms, Style C and Style D.

This Lyon & Healy catalog also includes testimonials, alluding to the fine nature and perfect satisfaction of their uniforms.

As W. B. Sanger of Livonia, New York testified on June 21, 1880:

"We are perfectly satisfied with them. Aside from being a perfect fit and first class in every respect, you have given us a better suit than you advertised. The light straw-colored sleeve trimmings and skirt trimmings look perfectly splendid ... The boys think they are "the stuff," and if you had been listening last Saturday evening, you would have heard three cheers for Lyon & Healy, from the boys of Livonia."

This catalog and others by Lyon & Healy can be found in the Trade Literature Collection at the National Museum of American History Library. Take a look at the Galaxy of Images for more on band uniforms.

—Alexia MacClain and Molly Reynolds

 

Lyon & Healy's Musical Strings

Located in the Trade Literature Collection at the National Museum of American History Library are several catalogs by Lyon & Healy, a musical instrument manufacturing company. Today Lyon & Healy is known primarily for their harps, but the company's beginnings included sheet music, uniforms, and a variety of musical instruments.

This 1891-92 catalog entitled Catalogue of Musical Merchandise depicts violins, guitars, harps, mandolins, and other instruments. One particular page illustrates four fancy inlaid violins. One of these, Number 51, shown here, is described as being decorated with "Decalcomania Pictures on Back, Dark Red Color, Highly Polished, Inlaid Edges."  Decalcomania is the process of transferring engravings and prints onto three dimensional surfaces through the aid of a flexible transfer material. This technique was more popularly used on pottery in the nineteenth century. The price for this violin, as listed in the catalog, was $5.50.  The other violins, shown here, varied from $5 to $11.

Lyon & Healy, Chicago, IL.  Catalogue of Musical Merchandise, 1891-92, page IV, Violins.

Also shown in this catalog are a number of guitars, two of which are the "Arion" and the "American Conservatory" guitars. The "Arion" is made from several different types of wood, including solid mahogany, Brazilian cedar, and rosewood. According to the catalog, the guitar "will not crack, warp nor shrink," and Lyon & Healy states that because they believe in "its absolute correctness we are prepared to stake our reputation." The "Arion" guitar had a price range of $18.33 to $19.58. The "American Conservatory" guitar is constructed of rosewood and Brazilian cedar and has a stripe down the back. The guitar is "French Polished," which is a process of using shellac to give it a glossy finish. Though incredibly beautiful, this process of polishing wood tends to make it more susceptible to damage. The "American Conservatory" guitar, shown here, sold for $25.

Lyon & Healy, Chicago, IL.  Catalogue of Musical Merchandise, 1891-92, page VI,
"Arion" Guitar and "American Conservatory" Guitar.

This 1891-92 trade catalog, Catalogue of Musical Merchandise, by Lyon & Healy can be found in the Trade Literature Collection at the National Museum of American History Library. For more images from this catalog, check out the Galaxy of Images.

Wondering about Lyon & Healy's other products? Especially band uniforms? Stay tuned for an upcoming blog post on that topic.

—Alexia MacClain and Molly Reynolds