(b Kranz, Russia, July 7, 1896; d Trondheim, Norway, Nov 19, 1963). Norwegian collector of musical instruments and founder and director of the Ringve Museum in Trondheim. An amateur singer, she had no formal musical training, but three siblings became professional musicians. In 1920 Victoria (née Rostin) married Christian Anker Bachke (1873–1946), the last private owner of Ringve manor outside Trondheim. Together they made plans for two museums: one for the history of the manor and its inhabitants, another for musical instruments, which they had begun to collect. Upon Christian’s death, his will established a foundation encompassing the land and buildings, and Mrs Bachke began serious collecting to prepare the museum, which opened in 1952 in the manor’s main building, a well-kept example of historicist architecture and interior decoration from the second half of the 19th century. Her main gifts for this task were enthusiasm and useful contacts, notably in France and Italy. One of her advisors was the Danish musicologist and organologist Godtfred Skjerne. Before she died, Mrs Bachke had collected about 1000 instruments of European and non-Western classical and folk traditions. She desired that the instruments be playable. Today the Ringve Museum has a national responsibility for collections of musical instruments in Norway, with educational and scientific staff and a conservation workshop. It remains a foundation under the administration of Museene i Sør-Trøndelag AS....
Peter Andreas Kjeldsberg
Roger J.V. Cotte
(b Fockenhof, Kurland, Feb 14, 1722; d Paris, March 24, 1791). French dilettante, amateur violinist and composer, patron of the arts and instrument collector. A magnificent and very wealthy nobleman, he both amused and astounded his contemporaries. M. Audinot in his comic opera La musicomanie (1779), and possibly E.T.A. Hoffmann in his tale Die Serapionsbrüder (1819), attempted to evoke his strange personality, emphasizing its ridiculous nature.
At the death of his father, a landed nobleman, in 1747, Bagge inherited a large fortune which enabled him to study the violin in Italy with Tartini. By 1750 he had settled in Paris; in the following year he was awarded the title chambellan du Roi de Prusse (then Frederick II) and married the daughter of the Swiss banker Jacob Maudry. With Maudry's death in 1762 the very large inheritance proved a source of contention to the ill-matched couple and they soon separated. Bagge later attempted to gain possession of the inheritance of Mme Maudry, who had died in ...
(b Croydon, South London, UK, April 11, 1863; d Oxford, Feb 9, 1939). English ethnographer, museum curator, and collector. He was appointed first curator of the Pitt Rivers Museum, Oxford (GB.O.prm), in 1893, having worked there as assistant from its foundation in 1884, and continued as curator until his death. He enriched the collection enormously by contacting every anthropologist he knew, through the Royal Anthropological Institute of which he became President, and government officers and administrators in districts all over the British possessions, asking them to acquire objects of ethnographic interest with as much documentation as possible. He travelled widely and acquired many objects himself, all of which, more than 15,000 items including hundreds of musical instruments, he bequeathed to the museum. Consequently the Pitt Rivers became one of the world’s great ethnographic museums, particularly rich in folk and non-Western musical instruments, most of them well documented with photographs and often with field recordings. Balfour published ...
James B. Kopp
(b London, UK, July 17, 1946). Conservator of musical instruments and maker of brasses, based in Ottawa, Canada. After studying fine arts and English at the University of Toronto, he joined the Canadian Conservation Institute, Ottawa, in 1975 as a conservator of furniture and wooden objects. He was trained in instrument conservation at the Germanisches Nationalmuseum, Nuremberg, and received a PhD from the Open University in 1999. He has undertaken wide-ranging projects in the conservation, display, and use of historical instruments in European and North American museums. He has received awards from the American Musical Instrument Society, the Galpin Society, and the Historic Brass Society for his numerous writings. He was named senior conservator at the Canadian Conservation Institute in 1991 and retired in 2007.
Barclay began in 1976 to make reproduction trumpets after models by Johann Carl Kodisch, Johann Leonhard Ehe (iii), and Hanns Hainlein. His book ...
Allison A. Alcorn
(b Kingston-on-Thames, Surrey, UK, March 14, 1940). English dealer in musical instruments, rare music books, music iconography, and related ephemera. After leaving school at the age of 16, Bingham trained as a quantity surveyor and opened his own surveying business in 1961, about the same time he began dealing in general antiques. He had a partnership in a musical instrument business for one year until 1966, when he opened his first independent shop at 247 Kings Road, London. Through extensive travels Bingham obtains and sells both Western and non-Western instruments. He specializes in assembling collections of European woodwinds, illustrating their development also with patent documents, methods, and other materials. His shop at 11 Pond Street features collections of metronomes, oil paintings of musicians, trade cards, tuning forks, and trade catalogues in addition to instruments. Major museum clients include the Metropolitan Museum of Art (New York), the National Music Museum (South Dakota), the Musée de la Musique (Paris), and the Musashino Academia Musicae (Tokyo), while private collectors have included Joe R. Utley, Nicholas Shackleton, and H. Iino. Bingham has also published several important works on musical instruments, such as William Waterhouse’s ...
Sarah L.B. Brown
(b New York, May 30, 1842; d New York City, Feb 15, 1918). American collector of musical instruments. Brown was formally schooled until age 16 and married the banker John Crosby Brown in 1864. Family (including six children), church, and charitable work were foremost in her life, but from 1884 her interest in music motivated her to form a systematic, global collection of instruments meant to illustrate their development and diversity. Beginning in 1889, she donated more than 3000 instruments to the Metropolitan Museum of Art in New York, naming the gift in honour of her husband: The Crosby Brown Collection of Musical Instruments of All Nations. The collection, of which she was de facto curator, attracted international recognition and remains the core of the museum’s instrument holdings, which also include her correspondence and a collection of musicians’ portraits.
Brown acquired instruments (including replicas to fill gaps in the didactic sequence) largely through correspondence with far-flung family, friends, missionaries, consular officials, and her husband’s international business connections. Although the collection includes some important masterpieces of art and design, Brown strove to collect typical examples illustrative of their times and places. For advice she corresponded with Alfred J. Hipkins, George Grove, Henry Balfour, Victor-Charles Mahillon, Sourindro Mohun Tagore, and other authorities, and she exchanged information and instruments with other collectors and museums in the USA and Europe....
Lyndesay G. Langwill
revised by Rosemary Williamson
(b Newcastle upon Tyne, May 19, 1878; d Great Missenden, Nov 2, 1958). English collector and historian of instruments and composer. He was educated in Hanover (1892) and as a Macfarren scholar at the Royal Academy of Music (1893–1902, ARAM 1902), where he studied composition with Corder. After serving as assistant music master at Winchester College (1909–22), he returned to the RAM in 1922 as professor of harmony and counterpoint, becoming a Fellow of the RAM in the same year; he held the professorship until 1940.
Carse’s early compositions include an orchestral prelude to Byron’s Manfred, a dramatic cantata, The Lay of the Brown Rosary and two symphonies; his later works, for student orchestras and beginners, are light, tuneful and individual, and ideally suited to their purpose as teaching material. His reputation, however, rests on his study of the history of instruments and the orchestra, and on his collection of some 350 old wind instruments, which he gave to the Horniman Museum, London, in ...
(b 1960; d Oct 24, 2000). American fretted-instrument collector, based in Toms River, New Jersey. During the 1990s he amassed more than 1000 vintage and 20th-century guitars, harp-guitars, banjos, mandolins, ukuleles, and other types representing a broad spectrum of designs, many by outstanding American luthiers and some previously owned by famous performers. His collecting activity, concentrated in a few years, drove up prices for fine fretted instruments generally and brought attention to guitars as works of art. Chinery lent generously for exhibitions and to performers, and intended to build a museum to house his holdings. His ‘Blue Guitar’ collection was inspired by a D’Aquisto Centura Deluxe model with a blue finish; Chinery commissioned 22 contemporary makers to build archtop guitars of their own design but all with a blue finish like D’Aquisto’s. Chinery also collected Cuban cigars, watches, automobiles, and comic books, among other hobbies supported by a fortune made from marketing nutrition supplements and other physical fitness products through Cybergenics, a company he sold in ...
(b Copenhagen, May 1, 1855; d Frederiksberg, Feb 22, 1931). Danish textile manufacturer, diplomat, philanthropist, and instrument collector. He was the son of a theatre prop manager. In 1884, after some years as a school teacher and inspector, he moved to Malmö, where he opened a textile factory. While living in Sweden he helped establish the Swedish section of the International Musicological Society which he led until 1914. He returned to Copenhagen in 1906, but maintained his business in Sweden until his death. Previously he was instrumental in founding the Musikhistoriska Museet in Stockholm (1899). At the outbreak of World War I he was appointed Denmark’s consul in Peru, becoming consul-general in 1915. Active in charitable, mercantile, and museum circles, Claudius was chairman of the Sundby Asylum, co-founder of the Danish Music Society (1921), and in 1928 he became a member of the Swedish Royal Academy of Music. His honours included Knight and 2nd degree Commander of the Dannebrog. Claudius collected coins, prints, liturgical manuscripts, autographs, bookplates, but especially musical instruments, which he acquired over about 30 years, amassing one of the largest private collections in Europe at the time. He and his wife hosted concerts played on historical instruments in their home. Claudius bequeathed his collection of music and musical instruments to the Danish state. In ...
revised by Carlo Chiesa
(b Casale Monferrato, March 14, 1755; d Salabue, Dec 15, 1840). Italian collector of violins. He was of noble birth and endowed with both a natural curiosity about violins and the means to satisfy it. His first great opportunity came in 1775–6 when he acquired ten Stradivari violins, together with tools, patterns and all that remained of Stradivari's violin-making equipment (now owned by the city of Cremona) from the master's son Paolo. For the next 50 years, with the assistance of the Mantegazza family, Cozio avidly traced and where possible purchased fine Italian violins of the Cremonese school, scrupulously noting down their details in his Carteggio (ed. R. Bacchetta, Milan, 1950; partial Eng. trans., 1987). He also gave much assistance and encouragement to many violin makers, including G.B. Guadagnini and Giacomo Rivolta.
Much of Cozio's collection was eventually acquired by another energetic enthusiast, Luigi Tarisio. The instruments included the famous unused Stradivari of ...