Music & Musical Instruments - Overview
The Museum's music collections contain more than 5,000 instruments of American and European heritage. These include a quartet of 18th-century Stradivari stringed instruments, Tito Puente's autographed timbales, and the Yellow Cloud guitar that belonged to Prince, to name only a few. Several of these rare instruments can be heard in performances of the Smithsonian Chamber Players and in other public programs. Music collections also include jukeboxes and synthesizers, square-dancing outfits and sheet music, archival materials, oral histories, and recordings of performances at the Museum. The vast Sam DeVincent Collection of Illustrated Sheet Music is a remarkable window into the American past in words, music, and visual imagery. The Duke Ellington and Ruth Ellington Boatwright collections contain handwritten music compositions, sound recordings, business records, and other materials documenting the career of this renowned musician.
"Music & Musical Instruments - Overview" showing 93 items.
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Gagliano Violin
- Description (Brief)
- This violin was made by Ferdinand Gagliano in Naples, Italy around 1780. The violin retains its original, but reset neck. It bears a facsimile Gagliano label inserted by violin maker and restorer, Simone Saconi, in 1961. Ferdinand Gagliano built this instrument in a diminutive “7/8” size, probably like many other small instruments of the 18th century. The violin has an unusually large sound and in the 1950s it was frequently loaned by Rembert Wurlitzer (the New York authority and dealer) for important solo performances by young artists in New York City. Many students of Ivan Galamian played this violin in concert during their youth. The violin is made of a two-piece table of spruce, back of maple in one piece with faint horizontal figure prominent on the right side, ribs of similar maple, an original plain maple neck, pegbox and scroll, and golden orange varnish.
- Description
- This violin has a facsimile printed label:
- Ferdinandus Gagliano Filius
- Nicolai fecit Neap. 1780
- made for this instrument by Simone F. Sacconi in 1961. It is marked with a red dot in the upper right corner, a device used by Sacconi to distinguish his facsimile labels.
- The Gagliano Family of violin makers was active in Naples from about 1700 well into the middle of the 19th century. Ferdinand Gagliano worked from approximately 1760 to 1795(?), primarily in the style of Stradivari. He is thought to have studied with his uncle, Gennaro, regarded as one of the greatest craftsmen of the family. Typical of Ferdinand and others of the Gagliano family in this period is a golden orange-brown (sometimes tinted with grey) varnish, harder and more brittle than varnishes from the classical northern Italian makers. Indeed, such varnish has a tendency to craze or flake, particularly in areas of the purfling, as can easily be seen in this instrument. Although largely modernized, the violin retains its original neck, reset to modern proportions.
- Ferdinand Gagliano built this instrument in 1780 in a diminutive "7/8" size. However, it has an unusually large sound and was frequently loaned by Rembert Wurlitzer (the New York authority and dealer) for important solo performances by young artists in New York City. Many students of Ivan Galamian played this violin in concert during their youth.
- Location
- Currently not on view
- date made
- 1778-1782
- maker
- Gagliano, Ferdinand
- ID Number
- 1979.0172.01
- accession number
- 1979.0172
- catalog number
- 1979.0172.01
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Gragnani Violin
- Description (Brief)
- This violin was made by Antonio Gragnani in Livorno (Leghorn), Italy in 1783. Working in Livorno, Antonio Gragnani (1740-1795) was one of the few Italian makers to utilize whalebone purfling. This violin has characteristic elongated Amati modeling, distinctive narrow extended pegbox with “compressed” scroll, and whalebone purfling. It retains the original neck, bass-bar and varnish in an outstanding state of preservation. This violin of a two-piece table of spruce, back of maple in two pieces cut on the quarter with very fine irregular horizontal figure, ribs of even medium-fine figured maple, an original neck, pegbox and scroll of fine figured maple similar to the back, and transparent orange-brown varnish.
- Description
- Working in Livorno, Italy, Antonio Gragnani (1740-1795) was one of the few Italian makers to utilize whalebone purfling. This violin has characteristic elongated Amati modeling, distinctive narrow extended pegbox with "compressed" scroll, and whalebone purfling. It retains the original neck, bass-bar and varnish in an outstanding state of preservation.
- Location
- Currently not on view
- date made
- 1783
- maker
- Gragnani, Antonio
- ID Number
- 1979.0173.01
- catalog number
- 1979.0173.01
- accession number
- 1979.0173
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Amati Violin
- Description (Brief)
- This violin was made by Nicolo Amati in Cremona, Italy in 1675. Nicolo Amati (1596-1684) was from the third generation of the famous Amati family in Cremona. The son of Hieronymous I, Nicolo is commonly regarded as the greatest maker of the family. He is renowned for having
- developed refinement, elegance and attention to detail not seen in the work of earlier makers. While using a variety of models, he developed a favorite large pattern of exquisite proportions which is known in our time as the “Grand Pattern” Amati. These instruments, with bodies of greater length and width than others of his output, have powerful voices suitable even for the modern soloist. The violin is made of a two-piece table of spruce, back of two-piece slab maple with irregular fine gently descending figure with broad figure at the upper bout corners, ribs of similar maple, grafted maple neck terminating in the original pegbox and scroll of even medium figured maple, and golden-orange-brown varnish.
- Description
- This violin has an original printed label:
- Nicolaus Amatus Cremonen
- Hieronymi Fil. ac Antonij Nepos Fecit 1675
- Nicolo Amati (1596-1684) was from the third generation of the famous Amati family in Cremona. The son of Hieronymous I, Nicolo is commonly regarded as the greatest maker of the family. While using a variety of models, he developed a favorite large pattern which is known as the "Grand Pattern" Amati.
- This instrument from the last decade of Nicolo Amati's life is built on the "Grand Pattern" and is a good example of the period, but it lacks the fluid elegance and grace of earlier examples. It is possible that this violin was constructed and finished with the help of students in the shop and with the aid of Nicolo's son, Hieronymous II (1649-1740), who was himself a fine maker but lacked the power and gift of his father.
- It is difficult to overestimate the impact of Nicolo in the development of the violin. He took the work of his grandfather and uncle to new heights of excellence. He then passed his influence, knowledge and aesthetic to students who included Andrea Guarneri, Francesco Rugieri and Antonio Stradivari. It is possible that Jacob Stainer may at some point have studied with Nicolo, but if not, his work was certainly influenced by the genius of this Cremonese master.
- date made
- 1675
- maker
- Amati, Nicolo
- ID Number
- 1979.0548.01
- accession number
- 1979.0548
- catalog number
- 1979.0548.01
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Friedrich Violin
- Description (Brief)
- This violin was made by John Friedrich in New York, New York in 1903. Friedrich was born in Kassel, Germany in 1858 and studied violin making from 1875-1883 in Kassel, Stuttgart, Leipzig. He later studied in Berlin with Otto Möckel, a well-known master and authority of his time. Friedrich immigrated to New York in 1883, establishing with his brother William the firm of John Friedrich & Bros. His work was highly regarded and he won the highest award for his exhibit at the Chicago World's Fair in 1893 and at the St. Louis World's Exposition in 1904. After a lifetime output of roughly 300 instruments, he died in 1943 at the age of 85. The violin is made of a two-piece table of spruce, one-piece back of maple with even medium-fine figure descending to the right, ribs of similar maple, complementary maple neck, pegbox and scroll, and orange-brown varnish shaded to imitate age and wear.
- Description
- The violin has an original label:
- John Friedrich fecit
- New York Anno 1903
- *3 handwritten
- and the ink number: #205 and a brand stamp logo in the inside center of the back. The instrument also bears a handwritten label: This instrument received highest award "THE GRAND PRIZE" at the St. Louis World's Exposition, 1904.
- John Friedrich was born in Kassel, Germany in 1858 and studied violin making from 1875-1883 in Kassel, Stuttgart, Leipzig and finally in Berlin with Otto Möckel, a well-known master and authority of his time. Friedrich immigrated to New York in 1883, establishing with his brother William the firm of John Friedrich & Bros. His work was highly regarded and he won the highest award for his exhibit at the Chicago World's Fair in 1893 and at the St. Louis World's Exposition in 1904. After a lifetime output of roughly 300 instruments, he died in 1943 at the age of 85.
- Location
- Currently not on view
- date made
- 1903
- maker
- Friedrich, John
- ID Number
- 1979.0647.01
- accession number
- 1979.0647
- catalog number
- 1979.0647.01
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Hyde Violin
- Description (Brief)
- This violin was made by Andrew Hyde in Northhampton, Massachusetts in 1893. Born in 1842, Andrew Hyde trained as a mechanic and later became interested in the violin. In 1886 he moved to Northampton, Massachusetts and established himself as a professional maker. Hyde produced more than 1,200 violins, violas and cellos and developed a style of imitating wear and age in his varnish and finishing details. He died in 1923 at the age of 81. This violin is made of a two-piece table of spruce, maple back in two pieces cut on 45o with irregular broad descending figure, ribs of similar maple cut on the slab, moderately figured maple neck, pegbox and scroll, and orange-red varnish.
- Description
- This violin has an original printed label:
- MADE FOR THE WORLDS FAIR COLUMBIAN EXPOSITION
- -BY-
- ANDREW HYDE
- NORTHAMPTON, MASS.
- NO. 609 A.D. 1893
- Born in 1842, Andrew Hyde was trained as a mechanic and later became interested in the violin. In 1886 he moved to Northampton, Massachusetts and established himself as a professional maker. Hyde produced more than 1,200 violins, violas and cellos and developed a style of imitating wear and age in his varnish and finishing details. He died in 1923 at the age of 81.
- This instrument, a Stradivari model, is extensively marked and shaded in imitation of wear and age.
- Location
- Currently not on view
- date made
- 1893
- maker
- Hyde, Andrew
- ID Number
- 1979.0647.02
- accession number
- 1979.0647
- catalog number
- 1979.0647.02
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Leonporri Violin
- Description (Brief)
- This violin was made by Giovanni Francesco Leonporri in Milan, Italy in 1755. Leonporri, whose attributed (signed) work is rarely encountered, is thought to have worked in Milan during the period 1750-1768. The Tyrolean character of his instruments implies that he may have been of Germanic background. It is possible that he Italianized his name when he moved to Milan. This violin is made of a two-piece table of spruce, two-piece back of maple cut on 45o with very fine irregular gently descending figure, ribs of similar maple, grafted maple neck with original plain maple pegbox and scroll, and a semi-transparent golden-brown varnish.
- Location
- Currently not on view
- date made
- 1755
- maker
- Leonporri, Giovanni Francesco
- ID Number
- 1980.0838.01
- catalog number
- 1980.0838.01
- accession number
- 1980.0838
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Gemünder Violin
- Description (Brief)
- This violin was made by George Gemünder in Astoria, New York around 1868-1872. This Guarneri model violin, while worn from years of use, shows many elements of George Gemünder's talent in creating direct copies of old instruments. In the book that was both written and published by him in 1881, The Violin: George Gemünder's Progress in Violin Making (with Interesting Facts Concerning the Art and Its Critics in General), he related the experience of submitting one of his Guarneri model violins to the 1873 Vienna Exhibition:
- “In the Exhibition of Vienna, my violin was mistaken for a genuine Cremonese violin, not only for its tone, but for its outer appearance which was so striking an imitation according to Joseph Guarnerius
- that a newspaper of Vienna made the observation “George Gemünder cannot make us Germans believe that the violin sent by him is new. A bold Yankee, only, can put his name in a genuine instrument in order
- to make himself renowned.”
- This violin is made of one-piece table of spruce, two-piece back of maple cut on the quarter with an irregular broad ascending figure, ribs are of similar maple, the maple neck-graft terminates in the original maple pegbox and scroll, and a golden-orange varnish.
- Description
- George Gemünder (1816–1899) and his brothers Albert (b. 1818) and August (1814–1895) were born in Ingelfinger, Germany. Their father, Johan Georg Gemünder, was violin maker to Prince Hohenlohe of the Kingdom of Würtemberg, near Alsace. George travelled throughout Europe, and moved to Paris in 1843 to work for four years in the violin shop of J.B. Vuillaume. Meanwhile, Albert and August came to America and established an organ shop in Springfield, Massachusetts in 1846. George followed them to the Boston area in 1847, and spent five years there before establishing his violin making business in New York City.
- George Gemünder specialized in models after Antonio Stradivari and Joseph Guarneri (del Gesu) and was known as one of America's greatest makers at the time, winning high awards at the London Exposition in 1851 and again at the Philadelphia Centennial Exposition in 1876.
- This Guarneri model violin, while worn from years of use, shows many elements of George Gemünder's talent in creating direct copies of old instruments. In the book that was both written and published by him in 1881, The Violin: George Gemünder's Progress in Violin Making (with Interesting Facts Concerning the Art and Its Critics in General), he related the experience of submitting one of his Guarneri model violins to the 1873 Vienna Exhibition:
- In the Exhibition of Vienna, my violin was mistaken for a genuine Cremonese violin, not only for its tone, but for its outer appearance which was so striking an imitation according to Joseph Guarnerius that a newspaper of Vienna made the observation "George Gemünder cannot make us Germans believe that the violin sent by him is new. A bold Yankee, only, can put his name in a genuine instrument in order to make himself renowned."
- Location
- Currently not on view
- Date made
- 1869-1872
- maker
- Gemunder, George
- ID Number
- 1980.0906.01
- catalog number
- 1980.0906.01
- accession number
- 1980.0906
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Taos Folk Fiddle
- Description (Brief)
- This folk fiddle was made in the Taos area of New Mexico around the 1920s. This folk fiddle comes from the Taos region of New Mexico. According to its previous owner, this fiddle was used in the village of Truchas by the Penitentes brotherhood to accompany sung prayers (alabados). The wooden case made for this instrument is lined with commercial fabric from the 1920s. The instrument with a long rectangular “box” body bears ornamental “S” sound-holes on the table. The neck is terminated in a plain, flat peg-head with four pegs. This violin is made of wood, painted black overall. The neck is reinforced with a metal plate at the top block area.
- Location
- Currently not on view
- Date made
- 1915-1925
- ID Number
- 1981.0181.01
- accession number
- 1981.0181
- catalog number
- 1981.0181.01
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Schramm Folk Fiddle
- Description (Brief)
- This folk fiddle was made by George Schramm around 1850. A true homemade instrument, it is a “Cigar-Box Violin” of trapezoidal outline with small center bouts and crude f-holes. The table and back are flat and bear pastiche-filled channels in imitation of purfling. The pegbox and closed scroll are similarly fanciful in execution. The instrument is accompanied by a cardboard, paper-lined case. This violin is made of a two-piece table of pine, back of plain American sycamore in one piece, ribs of similar sycamore, plain maple neck, elongated pegbox and compact, deeply cut scroll with one volute, and a thick opaque reddish-brown varnish.
- Location
- Currently not on view
- date made
- 1850-1875
- maker
- Schramm, George
- ID Number
- 1981.0530.07
- accession number
- 1981.0530
- catalog number
- 1981.0530.07
- Data Source
- National Museum of American History, Kenneth E. Behring Center
German Violin
- Description (Brief)
- This violin was made in Klingenthal, Germany around 1900. It is an inexpensive commercial instrument built without corner blocks and linings. The neck and top block are of beech in one piece. The violin was used as a shop-sign by the previous owner, which accounts for the weathered condition of the varnish and poor state of preservation of the instrument overall. This violin is made of a two-piece table of spruce, one-piece back of plain beech, cut on the slab, ribs of similar beech cut on 45°, beech neck, pegbox and scroll, and semi-opaque reddish-brown varnish.
- Location
- Currently not on view
- Date made
- 1898-1902
- ID Number
- 1981.0530.08
- catalog number
- 1981.0530.08
- accession number
- 1981.0530
- Data Source
- National Museum of American History, Kenneth E. Behring Center
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