CIMCIM
CIMCIM Conference in Vienna, Austria
19-24 August 2007
Schedule and Abstracts of Papers
WEB URL : http://cimcim.icom.museum/ixapt.html
Schedule
Monday, 20.08.2007
Location:
Sammlung alter Musikinstrumente (SAM), hall XIV
Neue Burg
Heldenplatz
A – 1010
Participants who join the ICOM pre-conference activities are kindly
asked to register at the
Instruments owned by famous musicians and celebrities: what can they
tell us?
Chair: Gabriele
Rossi-Rognoni
1. Beatrix Darmstaedter, Musicologist, Sammlung alter
Musikinstrumente, Kunsthistorisches Museum Wien
About the miraculous
mutation of commodities
2. Stefan Bohman, Director of the Music museum in
Music as Cultural Heritage: on composer museums and their instruments
3.
Music history in the heart
of a Museum.
4. Martin Kirnbauer, director of the Musikmuseum
of the
Beethoven’s flute – problems of an
authenticated instrument in the Musikmuseum
Basel
Instruments owned
by famous musicians and celebrities: what can they tell us?
Chair: Elizabeth
Wells
5. Alicja Knast,
Ignace Jan Paderewski’s ‘dangerous liaisons’
with piano manufacturers: Erard, Steinway and Weber
6. Robert
Adelson, Musée de la Musique de
Nice, Palais Lascaris, Nice
Masculinizing the harp: Madame de Genlis and the failed career of Casimir Baecker
7. Rudolf Hopfner, Director of the Sammlung alter Musikinstrumente, Kunsthistorisches Museum Wien
Ole Bull’s Violin.
An extraordinary fiddle with an even more extraordinary history
Instruments owned by famous musicians and
celebrities: what can they tell us?
Chair : Martin Kirnbauer
8. Anne Houssay, Technicienne de conservation, Laboratoire de recherche
et de restauration du musée de la musique, Cité de la musique,
Paris
A symbolic violin ? Ingres's legacy to the Montauban Museum
9. Frances Palmer, Curator,
Insights provided by
workshops for "Revolutionary Violinism"
Research thread and for displays
Demonstration Concert (free)
SAM, room IX
Natasha Korsakova, Violins owned/played by Sir Y.
Menuhin, L. Mozart and J. Lanner
Eugenie Russo: Pianofortes owend/played by
Clara Schumann and Emperor Franz Joseph
Program: J. S. Bach, C. Schumann, J. Brahms, F. Kreisler etc.
-------------------------------------------------------
Tuesday, 21.08.2007
Location: SAM
Documenting musical instrument collections
Chair: Ken Moore
1. Corinna Weinheimer, Conservator, Dipl.-Rest. (FH), France
Documents relating to
musical instruments: Who are they for? How should they be produced?
2. Sonja Leggewie,
The InstruMuse Portal - Sharing information about musical
instruments
3. Annalisa
Bini, Accademia Nazionale di Santa Cecilia, Rome
Documenting and sharing information on S. Cecilia Academy’s musical instruments: the opening of museum’s permanent exhibition and the new database consulting platform
11:30 Intermission
12:00 Session V:
Documenting musical
instrument collections
Chair: Silke Berdux
4. Gabriele Rossi-Rognoni and Laura Bognetti,
Galleria dell’Accademia – Dipartimento degli Strumenti Musicali,
Florence
Printed versus electronic cataloguing
5. Patrice Verrier, Responsible for the Documentation at the
Musée de la musique, Paris
Documenting
a collection of music insruments. Which tools for what kind
of public?Example of the Musée de la musique (
6. Jesmael Mataga
Documenting musical collections:
Practice in Southern African museums
„
Evening dinner
-------------------------------------------------------
Wednesday,
22.08.2007
Location: Technisches Museum Wien (TMW)
Mariahilfer Straße 212
A – 1150
Documenting musical instrument collections
Chair: Peter Donhauser
7.
Mats Krouthén, Curator,
Registration of Musical Instruments in Museum
Collections in
8.
How to Catalogue 900 Instruments in 9 months
9.
Gerhard Stradner,
Musical Instruments in the Kärntner
Landesmuseum in
11:30 Intermission
Documenting musical instrument collections
Chair:
10. Silke Berdux,
Curator of Musical Instruments,
Documentation of the “Thalkirchner
Organ” – a close view on one object
11. Elizabeth Wells,
Documenting stringed instruments: a project at the
12. Alicja Knast,
Cataloguing bows: is
unification possible?
Concert at the TMW Concert Hall (free)
-------------------------------------------------------
Thursday, 23.08.2007
Excursion (registration and payment at the Sammlung alter Musikinstrumente (SAM),
where the CIMCIM-conference takes place)
costs: c. 15,- Euro p. p.
Morning:
Rohrau: visit of Haydns birthplace and concert
(Richard Fuller, pianoforte)
Castle Rohrau: visit of the Harrach collection
Lunch
Afternoon:
Eisenstadt: visit of the „Haydn
House“ and concert (Richard Fuller, pianoforte)
Evening:
Reception at the governance of Burgenland (organized by ICOM)
--------------------------------------------------
ABSTRACTS:
Robert Adelson, Musée de la Musique de Nice,
Palais Lascaris, Nice
Masculinizing the harp: Madame de Genlis and the failed career of Casimir Baecker
Although
the actual instrument has not survived, contemporary descriptions of the harp
used by the early nineteenth-century virtuoso Casimir
Baecker (b. 1790- d. after 1863) provide enough
revealing details to understand that it differed in significant ways from
instruments played by his contemporaries. It was a late single-action Erard harp, mounted with strings much thicker and wound ten
times more tightly than was customary at the time, resulting in a sound said to
have been four times as powerful than a harp with
conventional stringing. Baecker also used a seat much
higher than normal, often played the harp with a bow, and even performed
passages on the unusual “nail violin” (violon de fer) during the course of his harp
concerts. His extensive use of harmonics played on both hands, and his mastery
of an unusual five-finger technique made him one of the most progressive
performers of his time.
Baecker’s unusual modifications to his harp—especially when understood in
light of his extensive correspondence with his teacher and adoptive mother, the
pedagogue, harpist, and writer Stéphanie-Félicité
de Genlis (1746–1830)--offer a rare glimpse
into the social reception of the harp at the end of the eighteenth and
beginning of the nineteenth centuries in France. Baecker
explained his innovations in highly gendered language: “Why should one
produce only thin sounds, when one can produce sounds that are full, manly, and
vigorous? Why play hunched over, when on can—when one must hold oneself
erect in order to pull out of the instrument all the riches that it holds? Why
let oneself be dominated by the instrument, when one can dominate it?”
Even
though there were notable male harpists at the time, their musical approaches
usually conformed with the contemporary view of the
harp as a graceful, and “feminine” instrument. Indeed, most of these male harpists
earned their livings by composing and publishing music for domestic consumption
by women players. Baecker’s approach, on the
other hand, was utterly different, and seemed designed to redefine the harp as
a masculine vehicle for musical expression.
Baecker’s experiments on the concert stage will be placed in the broader context
of the developments in harp design in the final decades of the eighteenth
century (such as the harpe à renforcement
of Krumpholtz and Nadermann).
Contemporary iconography, as well as the language used in
contemporary French treatises for the harp, allow us to trace these
technological advances, and also to show how in certain instances they can be
considered reactions against the feminization of the harp--a feminization that
is unparalleled in its intensity and rapidity in Western art music). Of
particular relevance to the story is the role played by Sébastien
Erard, who became one of Baecker’s
protectors during the harpist’s concert tours in
Silke Berdux, Curator of Musical Instruments,
Documentation of the “Thalkirchner Organ” – a close view on one object
The “Thalkirchner
Organ” is acknowledged as one of the oldest surviving church organs in
The organ is one of the very few documents of organ
building in southern
The effect is a detailed description of all parts of the instrument, photographic documentation, computer based technical drawings, x-rays, photogrammetric pictures of the organ, analysis of material, an examination of the organ case and its paintings and comparative look on other instruments connected to the Thalkirchner Organ.
We now are much more aware of its peculiar features and
its history. It became obvious that with the overall construction of the organ
has never been changed during the centuries (in regard to organs in Southern
Germany and
In my paper I will deal with methodological problems, describe our experiences during research, will discuss our approach as a possible model for other projects and their effect on a history of the ‘Thalkirchner Organ’.
Annalisa Bini, Accademia Nazionale di Santa Cecilia, Rome
Documenting and sharing information on S. Cecilia Academy’s
musical instruments: the opening of museum’s permanent exhibition and the
new database consulting platform
The Accademia Nazionale
di Santa Cecilia is now completing a strong activity
in documenting its musical instruments collection, in order to present both
items and information about them in a renovated and integrated communication
system, centred on the new museum’s site, designed by Renzo
Piano, which will be inaugurated within the end of the year.
The main aim of the project is to simplify and maximize access to and
exchange of information on the collection, for general public, for musicians
and for scholars.
For this reason the museum will be in a central position, close to the
Santa Cecilia Concert Hall and the new rooms will host both public and reserved
spaces, staff offices and deposits, while a new digital database will provide a
full and direct on-site / on-line access to the records of each item and to the
related digital and physical documents conserved in all the Accademia’s
archives (bibliographic, historic, photographic, sound and video files),
performing also integrated searches. The project leads to a full review of the
inventory and of items’ files; to complete the photographic documentation
of all instruments and to a full check of their conservation conditions.
Public spaces will be divided in: a gallery, where part of the
collection will be presented to the general public, with the help of texts,
images, audio and video presentations; an educational/interactive room, where
there will be a continuous activities program for children and adults; a luthier laboratory, which will present an historical part
and a modern one, which will be used by museum’s staff and could be seen
from the public; a multi-function room, to held conferences, seminaries,
concerts; a reserved consulting room for scholars, where they could closely
analyse instruments and their documentation, thanks to database consulting
sites. Database’s record model includes five sections: identification of
the item, description (together with conservation) measurements, digital
attachments and documents, bibliography, access.
Stefan Bohman, Director of the Music museum in
Music as Cultural Heritage: on
composer museums and their instruments
“Music as Cultural Heritage” is a key-sentence - the use of
music as a heritage, for ideological, social or political reasons. This use can
be of functional, symbolic or aesthetic reasons. Often those reasons cooperate.
One important part of the use of music as a Cultural Heritage is to
build and to use music museums. And an important part of the music museums in
An important part in those composer-museums are, of course, their instruments. They often have
a central position in the museums. It is then interesting to look at them as a
Cultural Heritage in a functional, symbolic or aesthetic meaning. In for
example the Liszt, Kodaly and Bartok museums in
I want to discuss those questions – how to analyse museums and
their instrument as Cultural Heritage? What role do they play in the society?
Beatrix
Darmstaedter, Musicologist, Sammlung alter Musikinstrumente
Kunsthistorisches Museum, Vienna
About the miraculous mutation of commodities
In times of cultural turns the individuals associated with certain musical instruments gain in importance within the object’s contextualisation at exhibitions and within the collection’s inventories. Persons are defined as realities discussed and treated very similar to the musical instrument respectively the exhibit itself. Some musical instruments giving the impression of objects of utility obtain their position in the context of the exhibition or collection solely because of their connection with celebrities or individuals of local interest. Particularly musical instruments are predestined for these esthetical and ontological mechanisms, for they are, in comparison to other art objects, intrinsically tied to additional and inseparable levels of personal dependencies: the musician (interpret) playing the instrument and the composer (author) writing the music for a certain instrument.
In fact cultural identities are not defined by objects but by subjects. Modern visitors of museums have in general stronger interests in the histories connected with subjects than with objects because they ratiocinate the cognition of themselves on individuals. As a reaction against globalisation and cultural homogenisation local or other particularised identities help to reinforce the appreciation and understanding of regional cultures and their historical development.
The paper focuses on an analysis of the recent
acquisitions of the Collection of Ancient Musical Instruments in
Music history in the heart of a Museum.
I would
like to talk about one of the most important musicians in
Perhaps
this name is familiar for musicologists who are interested in movements, events
and work and study in the field of oriental music. Abol
Hassan Saba was one of the most impressive ones who attempted to find a
concrete significance and concept, based on the musical rules and scientific theories, for Iranian music. In other hand we
can compare him with Bartok. By collecting old Melodies and themes originate in
the heart of Iranian tribes in far lands nearly 100 years ago;
This
small museum which is not very active (because of being private and no sponsor)
has a big secret in its heart. This secret is a story of a passionate man who
had mixed the music of his land with love. His instruments narrate his attempts
and endeavors to teach and train a great generation of contemporary musicians
who are indebted to his attempts and endeavors, and his effects on their musical
culture, the musicians who are his student directly or indirectly. His
collection would be revived by a little effort and endeavor and become an
authentic narrator for the history of music in
In this
meeting I will try to introduce this collection in details and present detailed
scheme of
Rudolf Hopfner, Director of the Sammlung alter
Musikinstrumente, Kunsthistorisches Museum, Vienna
Ole Bull’s Violin. An extraordinary fiddle with an even more extraordinary history
Among the precious items of Archduke Ferdinand’s Kunst und Wunderkammer in
Anne Houssay, Technicienne de conservation, Laboratoire de
recherche et de restauration du musée de la musique, Cité de la
musique, Paris
A symbolic violin ?
Ingres's legacy to the Montauban Museum
The musée Ingres in Montauban, takes care of a violin donated by the famous painter Ingres, who was also known as a violinist. In French, the expression "avoir un violon d'Ingres" means to practice an art, without it being one's main profession. The study of this instrument at the laboratory of the musée de la musique turned up some surprises. It showed some features inside and outside, as well as set-up details, like bridge shape, neck angle and preceding restorations, that didn't correspond to what one might expect to find in a violin of that period played by a competent amateur. We will show the details leading us to conclusions concerning the relationship between Ingres and this instrument.
Martin Kirnbauer, director of the Musikmuseum Basel
Beethoven’s flute –
problems of an authenticated instrument in the Musikmuseum
Basel
A four-part boxwood flute has been housed in the Historisches Museum Basel since
1957 (inv.-no. 1957.339.). Rather poor in appearance and craftmanship,
it
nevertheless played a very prominent role in the earlier permanent exhibition
of the museum. This is due to the fact that the instrument is accompanied by
authenticated
documentation proving that the flute belonged to Ludwig van Beethoven. But the
difficult relationship between Beethoven and the flute is well-known. So what
is the documentary value of this flute?
The paper traces the history of the instrument and
places it in the context
of comparable objects or relics once owned by Beethoven. A further topic of the
paper is the question how to handle such a problematic instrument in a modern
exhibition.
Alicja Knast,
Cataloguing bows: is unification possible?
The project initiated by the Centre for Performance History at the Royal
College of Music,
Alicja Knast,
Ignace Jan Paderewski’s ‘dangerous liaisons’
with piano manufacturers: Erard, Steinway and Weber
A musician and her/his instrument as a research objective seems to be an
endless source of investigations. The personality of a performer, especially a
performing composer, radically influences all stages of a musical piece’s
existence. If the instruments’ setting is left open then a performer and
features of his chosen instrument will have a big impact on the final
interpretation. Looking at the
performance further, the type of sound aesthetics a musician tends to extract
from available instruments is a basis for performing style, its recognition by
an audience and at last but not least its appraisal.
Ignace Jan Paderewski’s case is a spectacular display of implicit
knowledge about piano acoustic features made by a manufacturer and its
appropriateness for a given repertoire. Consciousness about the effect of a stiff keyboard on a performer's
well-being, uneven voicing etc. is
the main topic of his subtle campaigning against a money driven piano trade
which on one side enabled him to be one of the most prolific (and wealthy)
musicians and on the other side has built financial success on his personality
and reputation. Paderewski’s relationship with piano makers,
especially Steinway and Erard, coined his own
interpretations, which fortunately are available today in the form of
recordings, but also forced them to consider a musician as a vital component in
developing an instrument. Recordings of Paderewski’s performances made on Steinway and Erard’s pianos are considered along with extensive
archives held in New Files Archive,
Mats Krouthén, Curator,
Registration of Musical Instruments in Museum
Collections in
The National Museum Network for Music and Musical
Instruments in
Method: The project has received grants from the
Norwegian Archive, Library and Museum Authority (ABM-utveckling) and it is directed by
The process is divided into three steps 1) collection and conversion of data entries into a data base (2006-2007) 2) national concept harmonization by working groups in the network (2007-2008) and 3) a public data base version, Musikkinstrumentbasen, at the Internet (end of 2008). A group of documentalists from the MNW carry out the registration and revision work in collaboration with the responsible museums. The focus of the obtained information is quantitative. Data will be collected and updated on a basic level with a few data fields (object, museum number, inscriptions, maximal measurements, provenience and photo).
Preliminary Results & Conclusions: So far the project has shown that the amount of musical instrument (estimated over 7.000 objects) is far beyond the originally expected in Norwegian museums. This can be explained by insufficiency of registration capability of museum items. The name of an object also varies due to various dialects but also as a result of lack of knowledge. However, all variations will be recorded in a special data field. Not surprisingly there is a lack of instruments from the last fifty - sixty years.
The project is welcomed as a test in trying to harmonize one type of museum objects. There is a need for an increasing knowledge on and discussion on organological objects in Norwegian museums. The Musikkinstrumentbasen will therefore serve as a starting point for further projects in the fields of collection policies, conservation, documentation, etc.
Sonja Leggewie,
The InstruMuse Portal - Sharing information about
musical instruments
The aim of this paper is to introduce the idea and the possibilities of an (inter-)national internet search engine for musical instrument collections – the InstruMuse Portal. The idea developed during writing my MA thesis in collection management. It is not based on creating a whole new database in which museums would have to enter their data, but to create a connecting layer on top of all the already existing databases, similar to the Google search engine.
“A truly interoperable organisation is able to maximise the value and reuse potential of information under its control. It is also able to exchange this information effectively with other equally interoperable bodies, allowing new knowledge to be generated from the identification of relationships between previously unrelated sets of data.” Eric Miller (Miller, Eric: Interoperability, What is it and Why should I want it?, in: Ariadne Issue 24, <www.ariadne.ac.uk/issue24/interoperability> (01.05.03))
This statement powerfully summarises the advantages of interoperability. Making information about musical instruments available for general research, will enable the increase of knowledge about the history of musical instrument developments, historical performance practice and musical culture in general.
The knowledge in the computer world and the systems to make diverse databases interoperable does exist, it just has to be adapted to the needs of the musical instrument information.
A first step towards interoperability, would be a search engine for the basic information on musical instruments in museum collections. There will be certain steps each museum has to follow in order to have a basic amount of fields and information about their collections in computerised format – a checklist of their collections. Alongside of helping the museums to reach the bare minimum of standards, the project would also need to create the search engine for the Internet. Plus a thesaurus of the existing terminology used in the different systems would also need to be compiled.
Setting up a search engine and enabling museums to reach a common level of standards necessitates cooperation of all participating museums. However, as InstruMuse Portal would be a collaboration between diverse institutions, it would need to be an outside project, hosted by one of the museums.
Beyond these obstacles, the idea is feasible. With an eye to the future of musical instrument collections and the needs of researchers, curators, and instrument lovers, an interoperable database will have lasting benefits. It will save research and communication time, foster collaboration between museums and provide new information on historical and valued instruments. For a collection as challenging to understand as musical instruments, developing a system that will help knowledge sharing, is one important step in unpacking the mysteries, the histories, and the music once played on these instruments.
Jesmael Mataga,
Documenting musical collections: Practice
in Southern African museums
This paper discusses issues in the collection and documentation of
musical instruments in African museums. It wishes to explore the current trend
in documentation of musical collections in African museums by discussing the
approach of a few museums in
How to Catalogue 900 Instruments in 9 months
The Edinburgh University Collection of Historic Musical Instruments recently received by bequest one of the richest collections of instruments of any kind, the Sir Nicholas Shackleton Collection of clarinets and other woodwind instruments. Accompanying the bequest of instruments was an endowment to foster the exploitation of the Collection in research and education.
Although parts of the Collection had been known to
individual scholars, there was no generally available catalogue or even
check-list. This paper outlines the potential uses for such a collection in
research, and reasons for the decision to produce a catalogue as a high
priority. The cataloguing methodology will be described. Finally, the
Frances Palmer, Curator,
Insights provided by workshops for "Revolutionary Violinism" Research thread and for displays
[titolo
ricavato dall’abstract – non fornito da lei]
The Royal Academy of Music has a playing collection of
some 250 instruments from the violin family, some of these have been played by
distinguished players and one or two have been associated with very famous
musicians. In 2004, the Arts and Humanities Research Board (
the government funding body for academic research in arts and
humanities) supported a year-long investigation into interpretative techniques
for use with museum collections of musical instruments. One of the experimental
workshops was constructed around the 1734 Stradivari violin played by Habeneck and included readings from his diaries and
excerpts from his book of studies played on his own instrument. Building on the
success of that event, further events have been built around Viotti and Paganini, when the Cannone
Guarneri was briefly on loan from
The paper is based on these workshops and the insights which they have provided for our "Revolutionary Violinism" Research thread and for displays of violins in York Gate.
Gabriele Rossi-Rognoni and Laura Bognetti, Galleria dell’Accademia –
Dipartimento degli Strumenti Musicali, Florence
Printed versus
electronic cataloguing:
The
larger and larger access to electronic resources in the last few years has led
some musical instrument museums to the choice to stop completely the production
of printed catalogues and concentrate their resources on sofisticated
on- or off-line databases. Together with smaller costs, these allow wider and
easier access to the data, virtually no limits of space for photos, texts and
documentation, and the possibility to include elements, such as sound, that
were hardly ever to be found in printed catalogues. Electronic databases,
moreover, are more flexible and potentially very easy to amend or enlarge at
any point.
These
characteristics make databases an excellent complement, but not necessarily an
alternative, to printed catalogues.
This
paper aims at raising a discussion between museum curators, starting with the
presentation of the policy adopted by the Department of Musical Instruments of
the Galleria dell’Accademia in
Gerhard Stradner, Vienna
Musical
Instruments in the Kärntner Landesmuseum in Klagenfurt, Austria
Carinthia is a district in
The musical instruments from a nunnery dedicated to
Saint Ursula deserve special attention. These include some recorders, two
lutes, which belong to the Austrian and South German mandora-type, and three viole d´amore. These last
three instruments were made by Johann Schorn from
A special type of cittern, the Hamburger Cithrinchen, also made by Johann Schorn
from
Patrice
Verrier, Responsable
de la Documentation du Musée de la musique
Documenter une collection
d’instruments de musique. Quels outils pour quels publics ? Exemple
du Musée de la musique (Paris)
Une collection d’instruments de
musique peut intéresser de nombreux publics : au public
spécialisé (conservateurs, organologues,
chercheurs, facteurs d’instruments) s’ajoutent maintenant de
nouveaux interlocuteurs : éditeurs, iconographes, public scolaire
et grand public. Conscient de la variété de ces besoins, le
Musée de la musique propose une documentation riche et variée
où chacun pourra trouver ce qui l’intéresse
spécifiquement. En plus de la documentation constituée
traditionnellement dans tous les musées (dossiers, catalogues
raisonnés, plans, photothèque), il propose sur le portail de la
Médiathèque d’autres documents : catalogue en ligne
avec accès multicritères, base de données
d’enregistrements sonores, visite virtuelle du Musée ou dossiers
pédagogiques multimédia.
Documenting musical
instruments collections.
Which tools for which public ? The
Musée de la musique
(
A musical instruments
collection can interest various audiences: a specific professionnal
public (curators, organologists, searchers,
instrument makers), to whom we should also add new interlocutors such as
editors, iconographers, schools and the general public. Conscious of this
variety of needs, the Musée de la musique is offering a diversified and very rich
documentation, where each and everyone can find a specific interest. In
addition to the the basical
documents found in all museums like files, catalogues, technical drawings,
pictures, it's offering on the Médiathèque
website new documents such as on line catalogues with multicriteria
access, sounds recordings database, museum virtual tour ou
multimedia educational files.
Corinna
Weinheimer,
Conservator, Dipl.-Rest. (FH),
France
Documents relating to musical instruments: Who are they for? How should they be produced?
The subject of this paper is restricted to the objects in the collections i.e. the musical instruments. In my experience as a conservator many questions frequently arise when producing documentation. The term “documentation” includes text, pictures and drawings. I would like to use a few examples to demonstrate some difficulties encountered in the presentation of recorded data. Perhaps with some standardisation the situation might be improved.
Elizabeth Wells,
Documenting stringed instruments: a
project at the
The Museum was fortunate to receive a grant from the Arts and Humanities Research Council for an eleven-month project to improve access to the collection. The main objective was the preparation of Catalogue Part III, European Stringed Instruments, with an associated condition audit, conservation work and photography; in addition digital versions of the volumes already published, European Wind Instruments and Keyboard Instruments, were mounted on the Museum’s website (www.cph.rcm.ac.uk).
This paper will discuss issues of documentation in connection with the project, especially with regard to Catalogue Part III, and in the broader context of the documentation that has been undertaken on the collection. Part III was written by the speaker in collaboration with Christopher Nobbs and is to be published in June 2007; Catalogue Part IV, Bows for Musical Instruments, by Alicja Knast, edited by Jenny Nex, will appear on-line at the same time.
The speaker began work on the collection in 1964 and retired as Curator in 2005. Since then she has been preparing Part III for publication, as well as an article on the Donaldson Collection, to be published in MMI, March 2007.
A programme of the ICOM Conference can be found at
Further information from:
Dott. Gabriele Rossi-Rognoni
CIMCIM Secretary
c/o Museo degli Strumenti Musicali
Galleria dell'Accademia
via Ricasoli, 60
I - 50122 Firenze - Italy
This page updated: 13.7.07