The Golden Age of Flemish Harpsichord. Making a Study of the MIM’s Ruckers Instruments
Directed by Pascale Vandervellen. Musical Instruments Museum, Brussels 2017.
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Among the great names in the history of harpsichord making, that of the Ruckers is probably the most famous. This dynasty of makers, represented by four generations active in Antwerp between c.1580 and c.1680, exerted a predominant influence in Western Europe. Their harpsichords and virginals, synonyms of extraordinary workmanship, acquired a tremendous reputation that extended beyond European borders and lasted until well after their active period. The envy they inspired was such that it gave rise to large-scale counterfeiting, probably the most significant in the field of instrument making up to then.
The MIM owns eighteen instruments considered at the time of their acquisition to be Ruckers. Given the considerable patrimonial interest of this collection, a project centred on its conservation, study, restoration and enhancement was set up. The present publication sums up this fascinating research and sheds new light on this outstanding heritage.
Panagiotis Poulopoulos, New Voices in Old Bodies: A Study of ‘Recycled’ Musical Instruments with a Focus on the Hahn Collection in the Deutsches Museum.
Deutsches Museum Studies 2 (Munich: Deutsches Museum Verlag, Verlagshaus Monsenstein und Vannerdat OHG
148 pages, numerous illustrations. ISBN 978-3-95645-885-9 (Print version): 29,90 €, ISSN 2365-9149 (free PDF-Download).
The book is published in print form, but is also available for free downloading at the website of the Deutsches Museum.
Music of Power, Power of Music, A seventeenth-century Venetian trophy: an Ottoman military band
Proceedings of the International Conference, April 12, 2013, Musée de la musique, Cité de la musique.
Edited by Philippe Bruguière.
The expansionist conquests of Ottoman power in sixteenth-century Europe caused a profound disarray that changed Western representations of the world order on a long-term basis. The imposing military orchestras which preceded Turkish troops on the battlefield or accompanied official delegations made a great impression and went on to exert two centuries of influence on artistic creation. The recent study of one of these orchestras – brought back to Venice by the admiral Francesco Morosini around 1690 after a victorious military campaign in the Peloponnese – offers an unprecedented potential for historical investigation both in terms of organology and of the science and technology of materials. The multidisciplinary approach of the conference held at the Musée de la musique – Cité de la musique in Paris brought together historians, curators and scientists around this exceptional Ottoman military band.
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