The Museum's collection of musical instruments includes approximately five thousand examples from six continents and the Pacific Islands, dating from about 300 B.C. to the present. It illustrates the development of musical instruments from all cultures and eras. Selected for their technical and social importance as well as for their tonal and visual beauty, the instruments may be understood in a number of ways: as art objects, as ethnographic record, and as documents of the history of music and performance.
Posted: Monday, April 13, 2015
One of the most exquisite acquisitions made by the Department of Musical Instruments in the last decade was a spectacular koto, or long zither, from early seventeenth-century Japan. In addition to the instrument itself are many components, including an early nineteenth-century lacquered storage box, an eighteenth- and nineteenth-century silk brocade wrapping, and thirteen silver-tipped and -lined bridges. Each component is expertly decorated, and the process of exhibiting and photographing the beauty of these pieces is complicated. A stop-action video taken after a 2013 photo session reveals the various elements involved in packing the koto for transportation.
Posted: Monday, April 6, 2015
Hyperbole takes a back seat when it comes to the contrabass saxophone. Exaggeration and overstatement mean little when cast in the shadow of this gentle giant. Its stature defies description, while imposing a commanding presence that cannot be ignored. No, it does not leap tall buildings in a single bound, but it could stand in as one—looming at six feet, seven inches in height but of such graceful proportions as to invite warm and, at times, affectionate sentiment. It draws as much attention to itself tonally as it does visually. The resonance and depth of sound, floor-board rattling power, and deep range of this instrument (its lowest-sounding note is the lowest C-sharp on the piano) inescapably makes its presence known.
Posted: Monday, March 23, 2015
In the modern orchestra, wind instruments made before the twentieth century are considered to be outmoded and unusable. Technical developments such as valves and keys were so fundamental that nearly all were replaced by newer models. By contrast, seventeenth- and eighteenth-century string instruments, particularly violins by the famous Cremonese maker Antonio Stradivari, remain sought after by leading performers. Subtle alterations have enabled these violins to stay in use, even as performance spaces grew larger and compositions pushed instruments to their technical capacity, demanding a larger sound and a greater compass of notes.
Posted: Monday, March 16, 2015
Dublin had a flourishing music scene in the eighteenth century. The city had two cathedrals, St. Patrick's and Christ Church, that both employed a retinue of full-time professional musicians. In addition, a state orchestra was also maintained to provide music for civic occasions. Musicians were attracted to Dublin for these positions and found ample additional opportunities for music making in the numerous concert halls and theaters across the city. Dublin even attracted George Frederick Handel, who visited in 1741 and 1742, and premiered the Messiah there on April 13, 1742.
Posted: Thursday, February 26, 2015
This lavishly embellished cornet evinces the instrument's position as the most popular brass instrument of virtuoso soloists and band leaders throughout the late nineteenth and early twentieth centuries. The cornet first appeared in Paris in the 1820s and incorporated valves, invented only a few years earlier, into its design. This enabled the instrument to be played chromatically and with a strong, even tone throughout its entire range—a marked contrast to the natural trumpets and keyed bugles in use at the time.
Posted: Wednesday, February 4, 2015
This Sunday, February 8, marks the presentation of the fifty-seventh Grammy Awards. Although the ceremony is taking place in Los Angeles this year, here in New York, displayed among the treasures housed at The Metropolitan Museum of Art, are instruments once played by famous and influential musicians who have received or were nominated for Grammys during their careers.
Posted: Wednesday, January 28, 2015
Today the Department of Musical Instruments celebrates its storied history with the launch of A Harmonious Ensemble: Musical Instruments at the Metropolitan Museum, 1884–2014—a comprehensive account of the people, performances, and instruments that have made the department what it is today. This digital publication includes audio and video material dating back to the 1940s, many images of the instruments and the people who have shaped the collection, and original documents never before seen by the public. It is intended as a resource for those interested in the department and its activities, and will also be available, without media files, in a searchable, printable format at a later date.
Posted: Tuesday, January 20, 2015
The Metropolitan Museum of Art is full of visual arts depicting people making music. These images of musicians can tell us much about musical life in the past, but what exactly was the experience of contemporary viewers when they saw these works? Certainly, familiarity with the instruments depicted would have evoked music in their minds. A modern example might be the use of a guitar in an ad for blue jeans and its ability to bring to mind a favorite rock anthem or country ballad.
Posted: Wednesday, January 14, 2015
It is well known that the Department of Musical Instruments benefitted in its early years from the work of one unusual nineteenth-century woman, Mary Elizabeth Adams Brown, who remains the largest donor in the department's history. Less well known, however, are the contributions of another important American woman collector of the time, Brown's near-contemporary, Sarah Sagehorn Frishmuth.
Posted: Monday, December 8, 2014
The name Sax is usually connected to Adolphe Sax, the man who achieved immortality with the creation of the saxophone, an instrument he invented around 1840 and patented in 1846. An outstanding and rare example of an ivory clarinet in the Met's collection, however, draws our attention to Charles Joseph Sax, Adolphe's father.