A mystery instrument created

Mozart’s Magic Flute uses a glass harmonica or keyed glockenspiel to represent a set of magic bells.

“Mozart’s original score for the 1791 opera The Magic Flute called for a glass harmonica or keyed glockenspiel to represent a set of magic bells.

The instruments were obscure even in Mozart’s day but more than 200 years after his death they no longer exist and no one knows how they worked.”

British organ maker Robin Jennings has recreated the mystery instrument.  


Louise Schwartzkoff, “The otherwordly feeling of Mozart’s magic”, The Sydney Morning Herald, 28 July 2009

Click here to read article.

Posted

in

by

Greg

Tags:

, , ,

Featured Content

Knowledge of truth
This knowledge of truth, combined with proper regard for it, and its faithful observance, constitutes true education. The mere stuffing of the mind with a knowledge of facts is not education. The mind must not only posses a knowledge of truth, but the soul must revere it, cherish it, love it as a priceless gem; […]
The inexpressible depth of music
The inexpressible depth of all music, by virtue of which it floats past us as a paradise quite familiar and yet eternally remote, and is so easy to understand and yet so inexplicable, is due to the fact that it reproduces all the emotions of our innermost being, but entirely without reality and remote from […]
The cleansing power of music
“Take a music bath once or twice a week for a few seasons, and you will find that it is to the soul what the water-bath is to the body.” Oliver Wendell Holmes, American physician, lecturer and author.
Reich on modernism and tonality
American composer Steve Reich on Schoenberg and his compositional style: Schönberg is the beginning of the death of German Romanticism. It’s about deciding that we didn’t need harmonic organization. But this was music for a small cadre of listeners. I think Schönberg said, “In fifty years, the postman will whistle my tunes.” Well, it’s been […]
Bernstein as a counterpoint student at Harvard
The composer Harold Shapero, who lived a few doors away from Bernstein in Newton and was a year behind him at Harvard, also noted Bernstein’s cavalier approach to counterpoint studies. “Lenny didn’t come to class at all. I was a dutiful little student. I did my Palestrina stuff and I got an ‘A.’ . . […]
Busoni on invention
I came to think that every notation is already the transcription of an abstract invention. From the instant the pen takes hold of it, the idea loses its original feature. … The invention (Einfall) becomes a sonata, a concerto: it is already an arrangement of the original. From this first transcription to the second, the […]
Skepticism
“Great intellects are skeptical.” – Friedrich Nietzsche, Antichrist, 54.  Digitally archived at https://www.gutenberg.org/files/19322/19322-h/19322-h.htm, accessed 12 September 2021
Appreciating beauty
Music exists only in a passing of time, racing past us like the mid-nineenth-century trains Ruskin so hated. It is utterly non-fixed, and to focus on one moment is to destroy the whole. It is a forest that we have to pass through, not a single tree that we can contemplate or capture. But, if […]
Just as we checked the tuning …
In 1853, Brahms went on a tour of German cities with the Hungarian violinist Eduard Reményi.  In the town of Celle, they were scheduled to play Beethoven’s Sonata in c minor (op. 30, no. 2): but it was found that the piano in the hall was tuned a half tone too low.  Reményi refused to […]
A duet under the bed
It was in the eventful year, then, of 1813—the year of “Il Figlio per Azzardo”, with its obbligato accompaniment for lamp-shades of “Tancredi” and of “L’Italiana in Algeri”—that Rossini was writing one morning in bed, when the duet on which he was engaged fell from his hands. “Nothing easier”, an ordinary composer would say, “than […]