{ "instructions": [ { "date": [ { "earliest": 2014, "value": "2014-06-09", "latest": 2014, "primary": true } ], "note": "Complete", "author": "Shepherd, Rupert", "type": "CO Core Record QA" }, { "date": [ { "earliest": 2014, "value": "2014-06-09", "latest": 2014, "primary": true } ], "note": "Core Record", "author": "Shepherd, Rupert", "type": "CO" } ], "note": [ { "type": "catalogue note", "value": "The instrument belonged to Edward Perry Warren who was born in Boston, MA, USA but was educated at Oxford (UK) and settled in Lewes, Sussex. Together with his lifelong friend, John Marshall, he established the Lewes House Brotherhood, an all male group of aesthetes who pursued cultural and intellectual interests in the manner of their understanding of Greek antiquity. Warren was a prolific collector and he supplied many items to the Boston Fine Arts Museum through his brother who was Chairman of the Trustees. He also acquired for the British Museum the so-called 'Warren cup'. The clavichord is mentioned once in EP Warren's biography (Bachelors of Art, Edward Perry Warren & the Lewes House Brotherhood, by David Sox, Fourth Estate, London, 1991, p.213.) \"Shortly after dinner one retired to one's study and reading; but when there were guests it was conversation and music, for Warren played the clavichord beautifully, or Thomas the piano.\"\nDOLMETSCH-CHICKERING CLAVICHORD No. 4 (1906) - remarks by Richard Troeger, October 2016\nThe clavichord on display, made in 1906 by Arnold Dolmetsch at the Chickering piano firm in Boston, represents the first significant attempt in America, and the first in modern times on a large scale, to build musical instruments modelled on those of the Baroque and Classical eras. In late 1905, Dolmetsch was engaged by Chickering's to organize and run his own department, with full autonomy and his pick of the work force. The production included 34 clavichords, 13 two-manual harpsichords, 3 spinets, 19 ottavini (\"octavini\" in the shop log), and three fortepianos. (Location of these last yet proves elusive.) In addition, Dolmetsch and his staff produced nine viols (treble, tenor, bass), two lutes, two theorbos, and four psalteries. Almost all of these instruments found purchasers at the time; the clavichords, particularly, are now much sought both for musical values and as collector's items. The clavichords are generally considered to be the finest of this output, and in their historical basis and musical capabilities were not rivalled until late in the 20th century. Although there are slight variations among them, they are all based, not with entire literalness, on an original by Christian Gotthelf Hoffmann (1784; now at Yale; a sister instrument, also dated 1784, is to be found in the Cobbe Collection at Hatchlands). The Hoffmann was owned at that time by Dolmetsch himself, and restored by him.\n\nThe present clavichord, No. 4 of the Chickering series, was built in 1906 (as appears in the inscription at the rear left interior corner). It was sold January 1, 1908 to a dealership, the Bissell-Corman Piano Co. of Chicago. After two years of stirring no commercial interest, it was returned to Chickering's in December of the following year and subsequently sold (July, 1910) to Edward Perry Warren. The clavichord's date on the nameboard was repainted as \"MCMX\" (\"1910\") and it travelled to Liverpool, going thence to Lewes House, an all-male establishment run by Warren, said to be devoted to scholarship and the good life. Mr Warren, by the way, bought several Dolmetsch-Chickering instruments (mainly ottavini and a spinet) for his friends. Mabel Dolmetsch, who knew him in Boston, describes him in her reminiscences as an insatiable talker." } ], "loan": { "value": "Y" }, "projects": [ "MINIM-UK" ], "description": [ { "type": "catalogue description", "value": "Clavichord by Chickering under the direction of Arnold Dolmetsch, No. 4 with detachable cabriole stand, two stringing schedules, original envelope in three pieces, a fragment of paper giving stringing instructions, seven spare strings, one length of woven cotton red binding tape, one tuning hammer, three gauze backings for the rose, one length of black woolen cloth, four tuning wedges, one key and one leather lid cushion button. Although the exterior is black with gold edgings, the instrument was previously painted green and this colour remains on various interior surfaces including the nameboard. The lid has the French motto common to many later Dolmetsch clavichords: Plus fait douceur que violence (More is achieved by gentleness than violence.)\nThe following additional remarks were offered by Richard Troeger, October, 2016, in an email to MWaitzman:\nClavichord No. 4 is unusual among the Dolmetsch\/Chickering clavichords in several respects. First, the barring (\"ribbing\") on the underside of the soundboard is unlike that on any of the other Chickering clavichords. Apart from No. 4 and another seeming experiment, Dolmetsch used one basic ribbing arrangement on the first dozen instruments in the series and another on the subsequent 22 examples, but No. 4 possesses a series of six exactly parallel ribs crossing (at 4-inch intervals) underneath the string-bearing bridge on the soundboard, these ribs set at right angles to the bridge. There is yet a further rib beyond the bass end of the bridge. At least two of these light ribs are visible at present through cracks in the soundboard, most notably near the front rose, where the two sides of a crack are vertically displaced. Such ribbing, unlike the ribbing of the other Chickering clavichords, is by modern expectations rather piano-like. Uniquely among the Chickering clavichords, on this instrument the sounding string length of c\" (\"C above Middle C\") is almost exactly that of the usual c-sharp\" on these instruments, and the other string lengths are similarly shorter than usual throughout the compass. Thus the appropriate pitch would appear to be a semitone above the usual A=435 or 440 of the time. (\"A\" above \"Middle C\" vibrates at 440 cycles per second in today's standardized pitch.) Was the bridge glued on in the wrong position? Or set thus intentionally? If not a mistake, the scaling could represent an experiment in either a higher-pitched instrument or in slacker strings at normal pitch. The heavy ribbing may have been adopted independently of the scaling issue, but it is possible that the ribs were thought necessary to withstand a higher pitch's increased tension on the (very thin) soundboard. Perhaps for the same reason, the covered (\"overspun\") bass strings possess cores of steel rather than the usual brass: the steel is less likely to break. If this instrument was indeed pitched a semitone high, the extra bass tension might not only require the tougher, steel-core strings, but may have led to the case distortion and subsequent self-destruction of this clavichord. On the other hand, the (brass) stringing in the top two octaves is also heavier than usual (by one gauge size) and was apparently installed, and certainly recommended by Dolmetsch himself in a note found in the instrument's cubbyhole. At normal pitch, the heavier string diameters would counteract the slackness of the shorter scaling. (Indeed, even at normal scaling, Dolmetsch's unusually light treble stringing on these instruments creates a small tone and too-flexible touch, and would be made worse by shorter strings.) [Troeger's complete remarks may be read in the blue binder (history file) for this instrument or in MW's Individual Instruments folder on the T: drive.]", "primary": true }, { "attribution": { "date": [ { "earliest": 2016, "value": "2016-09-13", "latest": 2016, "primary": true } ], "attributor": "Waitzman, Mimi" }, "type": "description (online)", "value": "Unfretted clavichord, double strung throughout. Five octaves chromatic F1-F6 (FF-f3) 60 notes. Two round gilt roses, the carving within the roundel in the shape of a rose. Made in Boston, USA, by Chickering under the direction of Arnold Dolmetsch, No. 4 with a detachable cabriole stand. Although the exterior is black with gold mouldings, the instrument was previously painted green and this colour remains on various interior surfaces including the nameboard. The lid has the French motto common to many later Dolmetsch clavichords: Plus fait douceur que violence (More is achieved by gentleness than violence)." }, { "attribution": { "date": [ { "earliest": 2011, "value": "2011-08-05", "latest": 2011, "primary": true } ], "attributor": "Waitzman, Mimi", "source": "acquisition file" }, "type": "description", "value": "Clavichord by Chickering under the direction of Arnold Dolmetsch, No. 4 with detachable cabriole stand, two stringing schedules, original envelope in three pieces, a fragment of paper giving stringing instructions, seven spare strings, one length of woven cotton red binding tape, one tuning hammer, three gauze backings for the roses, one length of black woollen cloth, four tuning wedges, one key and one leather lid cushion button." }, { "attribution": { "date": [ { "earliest": 2011, "value": "2011-08-05", "latest": 2011, "primary": true } ], "attributor": "Waitzman, Mimi", "source": "acquisition file" }, "type": "commentary", "value": "This instrument is an important early example of the type of clavichord based on an historical model that Dolmetsch made during his collaboration with the Chickering piano firm in Boston, Massachusetts from 1905-1910. Thirty-four such clavichords were made; this one is number four. Of the three earlier Dolmetsch\/Chickering clavichords one is at Yale, and the other two are in private hands. This clavichord is the earliest example of its type in the UK and the only one in a publicly accessible UK collection.\n\nIt is inscribed and dated 1906 No.4 in a characteristically bold inscription clearly visible on the hitchplank. The date 1910 which appears on the nameboard but with the same number: 4, records an overhaul by Chickering. The Chickering ledger describes No.4 as 'Clavichord. Green case, Pale green inside, soundboard decorated by F. K. B Byrne'." }, { "attribution": { "date": [ { "earliest": 2014, "value": "2014-05-15", "latest": 2014, "primary": true } ], "attributor": "Waitzman, Mimi" }, "historical": true, "type": "description (online)", "value": "An unfretted clavichord made in Boston, USA, by Chickering under the direction of Arnold Dolmetsch, No. 4 with a detachable cabriole stand. Keyboard compass, 5 octaves FF-f''' chromatic. Although the exterior is black with gold mouldings, the instrument was previously painted green and this colour remains on various interior surfaces including the nameboard. The lid has the French motto common to many later Dolmetsch clavichords: Plus fait douceur que violence (More is achieved by gentleness than violence)." }, { "attribution": { "date": [ { "earliest": 2014, "value": "2014-05-15", "latest": 2014, "primary": true } ], "attributor": "Waitzman, Mimi" }, "type": "commentary (online)", "value": "The instrument belonged to Edward Perry Warren who was born in Boston, MA, USA but was educated at Oxford (UK) and settled in Lewes, Sussex. Together with his lifelong friend, John Marshall, he established the Lewes House Brotherhood, an all male group of aesthetes who pursued cultural and intellectual interests in the manner of their understanding of Greek antiquity. Warren was a prolific collector and he supplied many items to the Boston Fine Arts Museum through his brother who was Chairman of the Trustees. He also acquired for the British Museum the so-called 'Warren cup'. The clavichord is mentioned once in EP Warren's biography (Bachelors of Art, Edward Perry Warren & the Lewes House Brotherhood, by David Sox, Fourth Estate, London, 1991, p.213.) \"Shortly after dinner one retired to one's study and reading; but when there were guests it was conversation and music, for Warren played the clavichord beautifully, or Thomas the piano.\"" } ], "language": [ "eng" ], "title": [ { "type": "catalogue title", "value": "314.122-4-8 True board zithers with resonator box (box zither) sounded by hammers or beaters", "primary": true }, { "type": "classified as" } ], "type": { "sub_type": [ "general" ], "scope": "TOP", "base": "object" }, "arrangement": { "other_finding_aids": "HMG - Forest Hill; Horniman Museum; Music Gallery; Side A - At Home With Music; Case A4 - Private Passions; position 24 AND HMG - North Greenwich; Study Collections Centre; 2\/0; bay26; shC; Box10040 AND HMG - North Greenwich; Study Collections Centre; 2\/3; bay46; shB; Box09890" }, "publication": [ { "summary": { "title": "Bachelors of art; Edward Perry Warren & the Lewes house brotherhood" }, "@link": { "pages": "213", "role": [ { "value": "discusses" } ], "portion": "This is a mention of the use of the instrument by one of its previous owners, perhaps its first owner, E.P Warren.", "attribution": { "date": [ { "earliest": 2014, "value": "2014-05-12", "latest": 2014, "primary": true } ], "attributor": "Waitzman, Mimi", "certainty": "probably" }, "illustration": "N" }, "@admin": { "uid": "hmc-publication-966", "id": "publication-966", "uuid": "2fa9e030-1b0d-34d2-860b-31d6be6d0aa0" }, "@entity": "reference" }, { "summary": { "title": "Personal recollections of Arnold Dolmetsch" }, "@link": { "pages": "96-97", "role": [ { "value": "discusses similar" } ], "portion": "This is a mention of Mr Warren visiting the Dolmetsches after they had moved to Paris.", "attribution": { "date": [ { "earliest": 2014, "value": "2014-05-16", "latest": 2014, "primary": true } ], "attributor": "Waitzman, Mimi", "source": "Dolmetsch, 1958" }, "illustration": "N" }, "@admin": { "uid": "hmc-publication-135", "id": "publication-135", "uuid": "279624b9-7eea-3f77-ad3f-98b784a4a194" }, "@entity": "reference" } ], "legal": { "status": "permanent collection" }, "options": { "item_count": "23", "option5": "Chordophone", "flag4": "N", "flag3": "N", "flag2": "N", "option4": "MINIM-UK", "flag1": "N", "option2": "Arnold Dolmetsch worked for a period of seven years with the Boston, USA piano makers, Chickering from 1904-1911. He produced keyboard and other early music instruments in their workshops." }, "appraisal": [ { "source": "catalogue", "@entity": "lifecycle" } ], "inscription": [ { "method": "painting", "description": [ { "value": "lettering by hand in gold paint" } ], "details": [ { "transcription": "Chickering & Sons, Boston, USA, MCMX, No 4" } ], "language": [ "English with Roman numerals for the date" ], "location": "nameboard", "type": "signature" }, { "note": [ { "value": "plainly visible with the lid open" } ], "method": "ink", "description": [ { "value": "handwritten lettering" } ], "details": [ { "transcription": "Made by Chickering & Sons under the direction of Arnold Dolmetsch, Boston, USA, MCMVI, no. 4" } ], "location": "on the surface behind the hitchpins in the bass", "type": "signature" }, { "method": "painting", "description": [ { "value": "gilt lettering painted by hand" } ], "details": [ { "transcription": "Plus fait douceur que violence" } ], "location": "interior of the lid", "type": "inscription" } ], "term": [ { "summary": { "title": "clavichords" }, "@link": { "role": [ { "value": "object name" } ], "attribution": { "date": [ { "earliest": 2011, "value": "2011-08-05", "latest": 2011, "primary": true } ], "attributor": "Waitzman, Mimi", "source": "acquisition file" } }, "@admin": { "uid": "hmc-term-1016126", "id": "term-1016126", "uuid": "b4ea554a-031a-351b-a654-05169c2d5c42" }, "@entity": "reference" }, { "summary": { "title": "stands (elements of musical instruments)" }, "@link": { "role": [ { "value": "object name" } ], "attribution": { "date": [ { "earliest": 2011, "value": "2011-08-05", "latest": 2011, "primary": true } ], "attributor": "Waitzman, Mimi", "source": "acquisition file" } }, "@admin": { "uid": "hmc-term-1019113", "id": "term-1019113", "uuid": "c7e5f5ea-5045-3599-8fdf-3f2aa13de754" }, "@entity": "reference" }, { "summary": { "title": "strings (elements of musical instruments)" }, "@link": { "role": [ { "value": "object name" } ], "attribution": { "date": [ { "earliest": 2011, "value": "2011-08-05", "latest": 2011, "primary": true } ], "attributor": "Waitzman, Mimi", "source": "acquisition file" } }, "@admin": { "uid": "hmc-term-1018918", "id": "term-1018918", "uuid": "68c2873f-3b96-32cf-8acb-aa752dac23d9" }, "@entity": "reference" }, { "summary": { "title": "documentary artefact" }, "@link": { "role": [ { "value": "object name" } ], "attribution": { "date": [ { "earliest": 2011, "value": "2011-08-05", "latest": 2011, "primary": true } ], "attributor": "Waitzman, Mimi", "source": "acquisition file" } }, "@admin": { "uid": "hmc-term-508238", "id": "term-508238", "uuid": "29e39506-f338-3da0-b401-dd862a577e11" }, "@entity": "reference" }, { "summary": { "title": "keys (locks & enclosures)" }, "@link": { "role": [ { "value": "object name" } ], "attribution": { "date": [ { "earliest": 2011, "value": "2011-08-05", "latest": 2011, "primary": true } ], "attributor": "Waitzman, Mimi", "source": "acquisition file" } }, "@admin": { "uid": "hmc-term-503561", "id": "term-503561", "uuid": "5984eb14-b130-3263-9c09-6087c937ffdf" }, "@entity": "reference" }, { "summary": { "title": "tuning wedges" }, "@link": { "role": [ { "value": "object name" } ] }, "@admin": { "uid": "hmc-term-1019446", "id": "term-1019446", "uuid": "25d67063-63fe-3627-ba4e-983af3b25e52" }, "@entity": "reference" }, { "summary": { "title": "North American Peoples" }, "@link": { "role": [ { "value": "maker or user" } ], "attribution": { "date": [ { "earliest": 2014, "value": "2014-05-15", "latest": 2014, "primary": true } ], "attributor": "Waitzman, Mimi" } }, "@admin": { "uid": "hmc-term-500238", "id": "term-500238", "uuid": "9af56cff-8a99-3556-a220-46c001cfba56" }, "@entity": "reference" }, { "summary": { "title": "West European" }, "@link": { "role": [ { "value": "maker or user" } ], "attribution": { "date": [ { "earliest": 2014, "value": "2014-05-15", "latest": 2014, "primary": true } ], "attributor": "Waitzman, Mimi" } }, "@admin": { "uid": "hmc-term-500250", "id": "term-500250", "uuid": "e763a07b-f475-3d71-96ef-9e0591711d77" }, "@entity": "reference" } ], "physical": [ { "note": "Waitzman, Mimi; 2013-09-05", "component": "overall", "term": "wood", "descriptor": "material", "@reference": { "summary": { "title": "wood" }, "@link": { "role": [ { "value": "material" } ] }, "@admin": { "uid": "hmc-term-1015488", "id": "term-1015488", "uuid": "9374e5ef-ab0b-3b66-84bd-3f9728ed1f9a" }, "sort": 1, "@entity": "reference" }, "type": "material" }, { "note": "Waitzman, Mimi; 2013-09-05", "component": "overall", "term": "paper", "descriptor": "material", "@reference": { "summary": { "title": "paper" }, "@link": { "role": [ { "value": "material" } ] }, "@admin": { "uid": "hmc-term-1016455", "id": "term-1016455", "uuid": "8e15c417-63d2-36d3-860b-da44d10f36d0" }, "sort": 4, "@entity": "reference" }, "type": "material" }, { "note": "Waitzman, Mimi; 2013-09-05", "component": "overall", "term": "metal", "descriptor": "material", "@reference": { "summary": { "title": "metal" }, "@link": { "role": [ { "value": "material" } ] }, "@admin": { "uid": "hmc-term-1016352", "id": "term-1016352", "uuid": "59c8d44f-8aee-3cca-8cec-d1e1665e557f" }, "sort": 2, "@entity": "reference" }, "type": "material" }, { "note": "Waitzman, Mimi; 2013-09-05", "component": "overall", "term": "cotton", "descriptor": "material", "@reference": { "summary": { "title": "cotton" }, "@link": { "role": [ { "value": "material" } ] }, "@admin": { "uid": "hmc-term-1015510", "id": "term-1015510", "uuid": "1695c457-cc26-346a-a647-0d0df72cf224" }, "sort": 7, "@entity": "reference" }, "type": "material" }, { "note": "Waitzman, Mimi; 2013-09-05", "component": "overall", "term": "gauze", "descriptor": "technique", "@reference": { "summary": { "title": "gauze" }, "@link": { "role": [ { "value": "technique" } ] }, "@admin": { "uid": "hmc-term-1016564", "id": "term-1016564", "uuid": "addcdcd1-3912-3514-8a77-e6e99209435e" }, "sort": 6, "@entity": "reference" }, "type": "technique" }, { "note": "Waitzman, Mimi; 2013-09-05", "component": "overall", "term": "leather", "descriptor": "material", "@reference": { "summary": { "title": "leather" }, "@link": { "role": [ { "value": "material" } ] }, "@admin": { "uid": "hmc-term-1015475", "id": "term-1015475", "uuid": "40413197-a5fe-3d61-b373-e7a6b71bbb02" }, "sort": 3, "@entity": "reference" }, "type": "material" }, { "note": "Waitzman, Mimi; 2013-09-05", "component": "overall", "term": "wool", "descriptor": "material", "@reference": { "summary": { "title": "wool" }, "@link": { "role": [ { "value": "material" } ] }, "@admin": { "uid": "hmc-term-1015469", "id": "term-1015469", "uuid": "8bed4ca4-799f-3ab6-9885-f4597002d579" }, "sort": 5, "@entity": "reference" }, "type": "material" }, { "component": "coverings of accidental keys", "term": "ivory", "descriptor": "material", "@reference": { "summary": { "title": "ivory" }, "@link": { "role": [ { "value": "material" } ] }, "@admin": { "uid": "hmc-term-1016301", "id": "term-1016301", "uuid": "3748aaa2-b976-348e-bc1a-50024946104f" }, "sort": 8, "@entity": "reference" }, "type": "material" }, { "component": "coverings of natural keys", "term": "ebony", "descriptor": "material", "@reference": { "summary": { "title": "ebony" }, "@link": { "role": [ { "value": "material" } ] }, "@admin": { "uid": "hmc-term-1015496", "id": "term-1015496", "uuid": "5344948e-2452-38dd-83c4-a723d18d3964" }, "sort": 9, "@entity": "reference" }, "type": "material" } ], "creation": { "date": [ { "note": [ { "value": "The instrument was first made in 1906, but a considerable number of changes, primarily to its external appearance, were made, probably in 1910, accounting for the second date." } ], "century": [ "20th" ], "role": [ { "value": "date made" } ], "attribution": { "date": [ { "earliest": 2013, "value": "2013-09-05", "latest": 2013, "primary": true } ], "attributor": "Waitzman, Mimi", "source": "acquisition file" }, "earliest": 1906, "value": "1906", "latest": 1906 }, { "century": [ "20th" ], "role": [ { "value": "date made" } ], "attribution": { "date": [ { "earliest": 2013, "value": "2013-09-05", "latest": 2013, "primary": true } ], "attributor": "Waitzman, Mimi", "source": "acquisition file" }, "earliest": 1910, "value": "1910", "latest": 1910 }, { "source": "catalogue", "earliest": 1910, "value": "1906 and 1910", "latest": 1910 } ], "maker": [ { "summary": { "title": "Dolmetsch, (Eug\u00e8ne) Arnold; Chickering & Sons; Byrne, F. 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