Musée de la Musique—Acquisitions 2019

In 2019, new objects joined the collections of the Musée de la Musique.

Tête du Luth sarasvati vina (1982) by Atelier Ramjee, S RamanathanPhilharmonie de Paris

Played solo or as an accompaniment to singing, this instrument belongs to the school of Thanjavur and comes from the workshop of S. Ramanathan, one of the most famous in the region.

Synthétiseur modèle Prophet 5 (1980) by Sequential circuitsPhilharmonie de Paris

This Prophet 5 Rev. 3.3 synthesizer model was manufactured by the American company Sequential Circuits around 1980.

Entirely polyphonic, unlike other synthesizers of the same period, it paved the way for

modern keyboards. Offering a varied and powerful sound, it became a reference instrument as soon as it was released in 1978 and, even today, several software programs emulate the original sounds of this synthesizer.

Barre d’harmonie de violoncelle (1909/1911) by Léon MougenotPhilharmonie de Paris

This unusual object is a very special cello bass bar.

It comes from an instrument dated 1909–11, made by Léon Victor Mougenot (1874–1954), a luthier from Mirecourt, northeastern France, whose instruments had an excellent reputation, and who trained many French and European luthiers.

Archives Martenot - Loriod (1930/1980) by Maurice Martenot and Jean-Louis MartenotPhilharmonie de Paris

The museum has kept ondes Martenots (Martenot waves), together with their technical drawings, since 1991. Four major batches of archives, donated by the Martenot family and ondists, now enrich the collection and document the works of Maurice and Jean-Louis Martenot.

These documents are sources of information on the invention and construction of instruments, the company's activities, the repertoire associated with ondes Martenot, and the evolution of musical teaching (class materials, conferences, articles).

Amplificateur Fender Twin Reverb Silverface (1979) by Fender / CBSPhilharmonie de Paris

This Fender Twin Reverb amplifier, manufactured by CBS in 1979, is a benchmark, used to mplify both keyboards and electric guitars. It has been widely used in rock, pop, and more generally, in all amplified music.

Archet de violoncelle (1815/1825) by François Xavier TourtePhilharmonie de Paris

This bow is an exceptional specimen, by François Xavier Tourte (1747–1835), the master of French bow making, who developed the bow design to respond perfectly to the new playing techniques of his time. The entire length of the stick is octagonal, carved from very high quality Pernambuco wood. Two parts of this octagonal section extend to the back of the head, emphasizing it with sharply cut chamfers. The strikingly elegant carving of the head shows a slight asymmetry in the upper edge, which was typical of the maker's style.

Table de mixage modèle Teac 5 A (1980) by Tascam / TEACPhilharmonie de Paris

This Teac 5A mixing desk by Japanese firm Tascam is a device that powered a large number of home studios in the 1970s. It was used for tape editing and was supported by the Teac A3340 tape recorder, which is also featured in the museum's collections. This original model, in good working order, shows some traces of use that do not detract from the device's overall esthetics.

Quatuor miniature (1892) by Paul BlanchardPhilharmonie de Paris

This exceptional set of miniature instruments is by Paul François Blanchard (Mirecourt, 1851–Lyon 1912), the most important representative of Lyon violin makers in the late 19th and early 20th century, which until now, had been absent from the museum's collections.

This gift was from Mr. Jean Werro, an eminent Swiss violin maker, representing the third generation of a family of violin makers. He had received this miniature quartet from his grandfather, who had acquired the Blanchard workshop in Lyon in 1912.

Piano électrique modèle MkI Stage 73 (1976) by Rhodes - CBSPhilharmonie de Paris

This MkI Stage 73 model, from 1976, was especially designed for stage use as its name suggests, but also equipped the vast majority of recording studios and home studios in the 1970s. Its date of manufacture corresponds to the most sought-after period by amateurs and collectors, due to the manufacturing and sound quality of the equipment built at that time.

Credits: Story

Équipe Conservation - Recherche du Musée de la musique
Photos C.Germain, C.Laloue, T.Maniguet

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
Google apps