magical music machines

PUBLICATION ON THE OCCASION OF THE EXHIBITIONMONARCHY – MAGICAL MUSIC MACHINES

MONARCHYMAGICAL MUSIC MACHINES

AUTHORSBALOG, PeterSOUČKOVÁ, Taťána

www.nm.cz

First published in 2013 by the National Museum.

ISBN 978–80–7036–408–6

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tablE of coNtENtS 1 INTRODUCTION

2 CARILLONS

3 SELF–PLAYING ORGANS (ORGAN AUTOMATOPHONES)

4 COMPOSITIONS FOR FLUTE CLOCK

PRIMITIVIUS NIEMETZ

5 MUSIC BOXES

6 POLYPHONS AND SYMPHONIONS

7 AUTOMATONS AND ANDROIDS

FANTASMAGORY

8 BARREL ORGANS

THE CHILDREN‘S OPERA BRUNDIBÁR

FAIRS AND PUPPET THEATERS

BROADSIDE BALLADS

9 REED AUTOMATOPHONES

10 PIANOLA AND REPRODUCTION PIANO

11 ORCHESTRIONS

12 ELECTRONIC AUTOMATOPHONES

13 FEEDBACK FROM THE VISITORS‘ BOOK

14 ACCOMPANYING PROGRAM

15 LIST OF THE EXHIBITED INSTRUMENTS

16 INSTALLATION OF THE EXHIBITION

17 PHOTOGRAPHS AND BIBLIOGRAPHY

18 COLOPHON

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1

iNtroductioN

Dear readers,

Welcome to the publication that has originated on the occasion of the Magical Music Machines exhibition held in 2012 at the Czech Museum of Music. Our playing machines sounded forth as the introduction to the National Museum’s exhibition series called Monarchie (The Monarchy), a project taking a look at life in the Austro-Hungarian monarchy of the Habsburgs via a total of eight exhibitions.

To a large extent the exhibition traced the chronological evolution of automatophones from the sixteenth century to the present day. The oldest and most valuable item was the unique Trauttmansdorff Clock with an automatic carillon, on loan from the National Library. The eighteenth century was represented by another group of instruments, namely flute clocks, whose advanced technical construction so enchanted composers like Wolfgang Amadeus Mozart and Joseph Haydn that they composed works for them. From the ‘ long nineteenth century’ we had musical boxes and polyphons that still play today almost without any restoration work having been done. We devoted special attention to automatons – mechanically-moving figures imitating human behaviour. There are only a few such gems in the collections of Czech museums, and thus we were proud to be able to display the Monkey Playing a Violin from the Museum of Decorative Arts, the Flute Player and Singing Bird from the National Technical Museum, and our own Banjo Player by the famous Paris maker Gustav Vichy. As the ‘most horrifying’ item we displayed a barrel organ with a monkey band – a group of six monkeys that appear to play violin, trombone, contrabass, harp, and drum. This rarity is normally hidden from the eyes of visitors in the depositaries of the National Technical Museum. In a room devoted to the twentieth century we presented a player piano that visitors could try out on the spot, just as they could observe piano orchestrions playing. The whole exposition was then concluded by modern electronic automatophones including a prominent exhibit item called Číslizvuk (Sounding Numbers).

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The exhibition was enhanced by a series of accompanying events such as a performance by barrel organ players in the museum’s atrium, ‘show-and-tell’ player piano evenings with Jan Hochsteiger, a lecture by Antonín Švejda, and a presentation by the Archioni Plus Chamber Orchestra and the Disman Radio Ensemble led by Zdena Fleglová of the opera Brundibár.

Special thanks go to Pavel Ševčík for graphic treatment of the entire exhibition based on optical illusion, as a metaphor characteristic of musical playing machines – machines that come to life like a static picture that begins to move.

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2

CarILLONS

It was the Dutch who bestowed on Europe the first carillons when, starting in the early fourteenth century, they combined them with the mechanism of tower clocks driven by weights. A large wooden drum studded with pegs automated the playing. From monasteries ad convents carillons gradually spread to churches in towns, and their regular sounding served as a public marking of time, or drew attention to the closing time of city gates or to approaching danger.

Late in the fifteenth century the free inhabitants of Flanders and towns of the Netherlands were so prosperous that the building of tower clocks with moving figures and a carillon became a symbol of their independence and success. Individual towns even competed for the honour of having the highest and most elaborate tower with the largest number of bells. Very well known to this day is the double carillon in the cathedral tower in Mechelen (49 + 49 bells), which has been entered on the UNESCO World Heritage List. The popularity of carillons spread to France and gradually to the whole world. The first carillon in the Czech lands was placed in the astronomical clock in Olomouc, made in 1419–22.

The invention of clocks driven by a spring in the early fifteenth century allowed them to be miniaturized and more delicate mechanisms to be introduced. Decorated clocks of precious metals fitted with technical innovations such as an alarm clock, moving figures (automatons), and carillons created a sensation. Their musical expression was primitive, but fascinating. Clocks became a popular gift among kings and princes. In time their public importance declined, and craftsman began making them mainly for private use by wealthy ruling families.

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Trauttmansdorff clock with carillon

Anonymous, Prague (?), 1596

(National Library of the Czech Republic, P 803)

During the fifteenth century the renewal of interest in ancient philosophy, science, and art together

with a higher standard of living led to the development of the Renaissance culture, one of whose

manifestations was production of clocks having high technical as well as artistic quality – of which

the specimen here displayed is an example. Four decoratively-painted plates joined by little columns

protect the clock mechanism and the carillon, having a cylinder with holes into which metal pins are

inserted that strike ten small bells. The table clock ends with a metal plate having two bells and an

automaton in the shape of a rooster. When the carillon stopped playing the rooster crowed three

times, waved its wings, and opened its beak.

The front side contains four clock faces. The uppermost presents a calendar of church feasts

and also shows the four seasons of the year. Beneath it is a clock face divided into twenty-four

parts depicting the relative positions of the Sun and the Moon as well as the phases of the Moon.

The lower clock faces show quarter hours and hours. Between the clock faces is a gilded cylinder

with Latin and German names of the days of the week and carved figurines. Painted on the sides

of the clock are decorative pictures, including a song book ornamented with a blossom and primarily

allegorical figures – ‘Astronomia’ with a globe and ‘Musica’ with a trombone. According to an

inscription on a silver plaque on the pedestal this clock was donated in 1753 by Count Franz Adam

Trauttmansdorff to the Jesuit college in Prague’s Clementinum, where it is deposited to this day.

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Carillon mechanism

Anonymous, Bohemia (?), eighteenth century

(National Museum - Czech Museum of Music, E 2112)

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Salzburg carillon

Christoph Lederwasch, Austria, 1704

(University Library Salzburg, G 174 II)

Photograph from the exhibition

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3

SElf–PlayiNg OrgaNs (OrgaN automatophoNEs)

A favourite mechanical instrument of Emperor Rudolf II was the self-playing organ, whose manufacture was concentrated in the Bavarian town of Augsburg. The opening and closing of the pipe valves was controlled by a cylinder with inserted pins, set in motion by a stream of water or by weights. By contrast with a carillon, the set of pipes allowed playing of a melody with a recognizable harmonic accompaniment.

One of the oldest preserved self-playing organs, a ‘horn machine’, is found in Salzburg. It comes from the sixteenth century and originally had 350 pipes. Before the beginning of a composition a chord that the local residents called the ‘Salzburg Bull’ was played by 150 pipes The cylinder originally contained only one composition, but in 1753 Leopold Mozart, the father of Wolfgang Amadeus Mozart, expanded the repertoire to twelve pieces composed by masters of the classical style.

The Renaissance enthusiasm for artistic galleries knew no bounds. Rulers loved to commission artistically-adapted cabinets with astronomical or optical equipment and also with self-playing organs. In the eighteenth century the zeal for luxurious cabinets declined and the appearance of organ machines became more simple. This trend is shown by this self-playing organ built into a cabinet, the work of Šimon Josef Truska, the last lay brother of the Premonstratensian monastery at Strahov in Prague.

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Self – playing organ in secretary

Šimon Josef Truska, Prague, 1774


Self – playing organ with animal voices and singing bird

Athanasius Kircher, Musurgia Universalis, 1650

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Self – playing organ with blacksmiths

Athanasius Kircher, Musurgia Universalis, 1650

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4

CompositioNs for flutE ClocK

Starting in the second half of the eighteenth century the use of small self-playing organs associated with a clock was not only a privilege of kings and the most exclusive elite. The carillon was replaced by pipes, and flute clocks became very popular among the nobility and wealthy burghers.

Flute clocks most often played opera arias, overtures, parts of flute concertos, minuets, other dances, or parts of symphonies. Compositions originally intended for human performance were adapted for a playing cylinder, but original compositions were also written for the flute clock, including some by the greatest masters: the triumvirate of the Viennese classical style Haydn, Mozart, and Beethoven.

In the output of Joseph Haydn (1732–1809) we find at least thirty-five pieces that he either composed for or arranged for the flute clock. He did not quite know how to accommodate himself to the small space afforded by the rotating cylinder as a recording medium, but his contemporary Wolfgang Amadeus Mozart (1756-91) succeeded in this and strove to create his own style of mechanical music, differing from that of his other works. His pieces were played by a clock with a cylinder having spirally-arranged pins for as much as ten minutes at a time, and used a compass of three octaves with more than one note sounding simultaneously. Toward the end of his life he composed short pieces for automatophones primarily owing to his unfavourable financial situation. The Czech nobleman Joseph Deym-Müller (1750-–1804) commissioned compositions from Mozart for his Viennese gallery of wax figures. Ludwig van Beethoven (1770-1827) also received a commission from Deym; best known of Beethoven’s five short pieces for flute clock is an Adagio from ca. 1792.

In the nineteenth century mechanized organs in clocks were replaced by musical box mechanisms. Self-playing organs were transformed into barrel organs and orchestrions.

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Flute clock

Václav Vencl, Prague, 1st half of 19th centrury


Flute clock

Petr Heinrich, Prague, first half of the nineteenth century


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4

Primitivus NiEmEcz

‘Primitivius Niemecz Cmi Principis Esterházy Bibliothecarius fecit in Esterhas Anno 1793’ (Lettering on the preserved mechanism from a flute clock by Primitivus Niemecz)

An unjustly neglected figure from this period – in fact totally forgotten – is Primitivus Niemecz (born 1750 in Vlašim, Bohemia, died 1806 in Vienna), librarian of Prince Esterházy. He acquired his name in the monastery of the merciful brothers in Prague, where he took his monastic vows as ‘ frater Primitivus’. In 1780 he became court librarian for Prince Nikolaus Esterházy in Hungary. Prince Nikolaus I of Galántha, true to his nickname ‘der Prachtliebende’ (Lover of Splendour), loved pomp, but also had a good understanding of music. In his palace Esterháza, in the style of Versailles, he maintained the largest resident orchestra in Hungary, whose members included several Czechs and which was conducted by the celebrated Joseph Haydn.

Haydn’s friendship with Primitivus Niemecz influenced the latter’s musical education. However, he was famous mainly for his outstanding abilities in mechanics. Where he acquired these skills is not known, but most likely it was in his native Bohemia, where production of musical clocks was widespread at that time. He made various automatophones for his own pleasure, and several of them are mentioned in lexicons written already during his lifetime – a musical spinning wheel, a musical chair, and a chess-playing automaton. Niemecz made perfect playing machines admired by the most famous Viennese composers: ‘[…] He also engaged in very successful experiments with diverse organ and clock machines and ornamented them with figures and little pieces, sonatas and small concerts.’

Niemecz made four flute clocks for which Haydn composed pieces or arranged them. Of the many instruments he made during his lifetime only three flute clocks have been preserved, remaining in private collections to this day. They contain up to thirty various pieces by Joseph Haydn.

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The preserved portion of a flute clock by the Czech librarian Primitivus Niemecz, for whom

Joseph Haydn composed or arranged twelve pieces. The clock had twenty-nine tones with

a compass of two and a half octaves and played sonatas and symphonies by Haydn.

(Museum Speelklok, Utrecht)

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Musical BoxEs

In the nineteenth century a new type of mechanical instrument appeared, and throughout this century its sound was a popular musical companion in households that could afford it. Unlike the wooden cylinder and pipes found in flute clocks, the mechanism of a musical box consisted of a small metal cylinder studded with tiny pins of steel. The circular motion of the barrel was driven by a stretched spring, and the pins plucked a steel comb with tuned teeth that sounded according to a set program. The cylinder commonly contained as many as six compositions, mainly opera melodies, patriotic and folk songs, and/or waltzes. Although musical box mechanisms were normally placed in wooden cases, the high-quality sound and small dimensions of the machines inspired makers to place them into other objects as well – porcelain figurines, Christmas tree stands, chairs, pendants, jewellery boxes, goblets, and photo albums.

The area of Switzerland near the border with France may be considered the cradle of musical boxes. In Geneva and the town of St. Croix clockmakers and craftsman made individual parts which they then assembled.

Important makers of musical boxes also included, starting in 1813, František Řebíček, a native of Josefov in Bohemia. He won several awards in world expositions in Paris and London. In 1870 his enterprise was taken over by his son Gustav.

Because of the great demand for musical boxes, starting in the second half of the nineteenth century home production was replaced by manufacture in factories. The number of compositions on a cylinder increased, and musical box mechanisms began to be complemented by carillons, drums, or small organs. Toward the end of the century the cylinders were standardized and it was possible to change them, but not even this innovation prevented the gradual fall from favour of these once-so-popular machines.

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Music Box

František Řebíček, Prague, ca. 1830-70


This simple music box with up to 103 teeth plays four compositions.

The same models were also made by František Řebíček’s son Gustav.

http://youtu.be/zDlyKGsMRY4



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Swiss Music Box

Anonymous, western Europe, ca. 1870-90


Between the two steel combs, each having thirty-six teeth, is a mechanical system for opening

and closing valves that release air to free reeds. In the lower part of the mechanism are bellows.

The sound of the reeds is sharp and penetrating. This playing box was originally called ‘Voix Céleste’,

i.e. ‘Celestial Voice’. It plays eight compositions.

http://youtu.be/BrYDTuOOoj8



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Swiss Music Box

Anonymous, western Europe, ca. 1870-90


The comb is divided into four parts, of which the longest has a hundred tuned teeth. Another

eight teeth are sounded by mallets next to a wooden drum at the right, while the same number

of teeth are sounded by mallets next to the metal drum at left, and the last six serve for controlling

the hammers next to bells arranged in the shape of a pyramid. The hammers often had the shape

of bees, blacksmiths, or dwarfs. This box plays six compositions.

http://youtu.be/H_KNiHtfSW0



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Music goblet

Anonymous, nineteenth century


Music Box

Johann Heinrich Heller, Bern, late nineteenth century


This music box plays eight compositions. Corresponding to this large number is the greater distance

between the seventy-four teeth: the cylinder must have sufficient space for shifting to be able to play

the next piece. Heller made music boxes and also monumental orchestrions.

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6

PolyphoNs aNd SymphoNioNs

Late in the nineteenth century Paul Lochmann of Leipzig invented a new manner of sounding the steel teeth on a playing comb. He replaced the cylinder in the musical box with a metal disc having projections that set the steel teeth of the comb to vibrating, placed in a case that could be set on a table or hung on a wall. The spring driving mechanism remained. Advantages of discs were that they were affordable and could be easily exchanged. Production of these playing machines shifted from home workshops to large factories. Among the most successful manufacturers were Symphonion Musikwerke and Polyphon Musikwerke, which advertised their products in sales catalogues and newspapers as well as on posters. Playing machines were exported from Germany to the whole world, achieving their greatest popularity in Europe and America.

Small table models, often having a case with intarsia and with a coloured lithograph in the inside of the cover, were intended for households, whereas the larger hanging models were for taverns, restaurants, or dance halls. There were so many various models that people from all social strata could find something for themselves among them. The cheapest models resembled toys and were powered by a hand crank. The more elaborate models also had a mechanism for sale of chocolates, chewing gum, cigarettes, or brass medallions, and their musical mechanism was activated by inserting a coin into an opening in the side. Some of the disc musical boxes were equipped with a xylophone, bells, or a system for automatic exchange of discs. The repertoire of polyphons and symphonions was rich. From these boxes one could hear waltzes, marches, or polkas by famous composers such as Johann Strauss.

The golden age of musical boxes with metal discs was gradually brought to an end by the rise of the phonograph. However, interest in polyphons and symphonions reawakened after World War II, especially among collectors of mechanical musical instruments.

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Table symphonion

Symphonion Musikwerke, Leipzig, late nineteenth century


This symphonion contains two playing combs with thirty teeth. The model is designated 41N

(‘N’ standing for ‘Nussbaum’, i.e. nut tree). It was sold in three sizes. The larger models had

seventy-two and eighty-four teeth.

http://youtu.be/ofe2XvVBI5E



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Table polyphon with bells

Polyphon Musikwerke, Leipzig, early twentieth century


This polyphon features a coloured lithograph of angels playing a contrabass, lute, and drum.

It has forty-one teeth and six bells which can be turned off. This model is designated 41G

(G standing for ‘Glocken’, i.e. bells). The spring is stretched via a crank in the front part of the case.

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Table polyphon

Polyphon Musikwerke, Leipzig, ca. 1900


A polyphon with a coloured lithograph of the Dresden docks on the inside of the cover. Beneath it is

a small label with the name of the seller: Šámal brothers of Prague. The polyphon has fifty-four teeth

and allows regulation of the speed of playing. This was one of the most popular models.

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Polyphon with disc changer

Polyphon Musikwerke, Leipzig, ca. 1900


A polyphon with a pair of combs each having seventy-five teeth and a disc changer. The desired disc

can be selected with a lever. A small lift raises it to the proper position, plays it, and then returns it

to its original place. Advertisements claimed that this polyphon had an unusually sweet tone.

Polyfon Musikwerke factory advertisement

Zeitschrift für Instrumentenbau, Leipzig, 1900–1901

(private collection)http://youtu.be/Z84LZEXirbI

http://youtu.be/Z84LZEXirbI

http://youtu.be/Z84LZEXirbI

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Polyfon Musikwerke factory advertisement


(private collection)

Music machine with snooker advertisement



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7

automatoNs aNd aNdroids

The first mentions of automatons come from ancient times and the Middle Ages. In the thirteenth century automatons were included in tower clocks. Often they were associated with horrifying stories. For instance the creator of the oldest preserved automaton, an iron rooster from the clock of the cathedral in Strasbourg from 1350, was allegedly blinded by the town councilmen to prevent him from ever again making anything like it. And puppets endowed with life aroused fear, as though they could destroy even their own maker.

During the Renaissance the concept ‘automaton’ included a whole group of self-moving machines, various astronomical models, and mechanical puppets, which were acquired by the high nobility as luxuries. A Renaissance table automaton had a base in which the mechanism was hidden, and the main part consisting of moving figures, boats, animals, or whole scenes. Complicated long-playing automatons were collected by Emperor Rudolf II, who deposited them in his famous Prague ‘Kunstkammer’.The Thirty Years’ War and the beginning of the scientific revolution slowed the development of automatons. René Descartes, in his Discourse on the Method of Rightly Conducting the Reason (1637), cast doubt on the perfection of automatons and degraded them to mere toys.

A century later a completely opposite attitude toward mechanical hominoids was adopted by Jacques Vaucanson, who elevated the construction of such machines to the level of philosophical experiments. He understood the making of androids as an effort to capture and simulate mechanically the behaviour of living beings, including physiological events that produce that behaviour but are not themselves normally visible to the eye. Voltaire even called Vaucanson ‘the rival of Prometheus’. Production of androids was also associated with the name of Jaquet-Droz. In the nineteenth century new makers of automatons appeared, such as Vichy, Dechamp, and Bontems. The first robots provoke amazement to this day, and raise the disturbing question of where the boundaries lie between real and artificial life.

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Banjo player

Gustav Vichy, Paris, late nineteenth century


Gustav Vichy (1839-1904) was the son of a French clockmaker. He learned that trade from his father,

but was more interested in mechanical toys. He began making automatons together with his wife,

who sewed clothing for the figures. In 1866 he opened a store in Paris, and at the world exposition

in 1878 he won several prizes. He made various moving figures: acrobats, clowns, dancers, musicians,

and exotic characters. Among his contemporaries were highly-acclaimed makers like Théroude,

Roullet, Decamps, and Bontems. This banjo player is a playing minstrel. Hidden in his back is

a musical box mechanism that plays two short melodies in sequence. His neck and lips move,

he blinks, and with his hand he imitates the playing of the banjo.

http://youtu.be/ZgLNYXDhFtI



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7

faNtasmagorY

On plazas under the open sky, in the halls of restaurants and taverns, and also on Prague islands one could see the most diverse rarities, including curiosity shows of moving automats: physical objects, automatons in the shape of human figures, androids, and mechanical theatres. Visually-interesting posters decorated with simple woodcut or lithograph prints lured viewers to these presentations and promised amazing experiences – a life-size figure of a cavalryman who walked, trotted, and could trumpet twenty different melodies, a mechanically-moving horseman and tight rope walker, and an automaton that allegedly could even count, write, draw, and play various games.

Mostly it was artists from foreign countries who demonstrated curious musical automatons. Viewers were drawn not so much by enjoyment of the music as by special visual attractions and curiosities. For example in 1837 it was a 180-cm tall figure of a flute player with artificial lungs who could play twenty compositions. A ‘Phonoganon’ by Prof. Robertson from 1842 imitated the human voice. Great interest was aroused by a musical automaton of Bedřich Kaufman called ‘Symphonion’, in which a piano mechanism was hidden along with a set of flutes, small drums, timpani, and a triangle. Josef Faber built a figure of a woman who was operated via a keyboard; the speaking woman reproduced the alphabet and some words, even sentences. Among them was the Czech tongue-twister ‘Strč prst skrz krk.’ (Stick your finger through your throat.)

The dazzling beauty Olympia – a brilliantly singing automaton –is one of the characters in the fantastic opera The Tales of Hoffmann (premiered 1881) by Jacques Offenbach, a soprano role that offers great opportunities for its performer in both singing and acting.

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8

BarrEl OrgaNs

The construction and appearance of barrel organs became stabilized in the eighteenth century. Organ grinders were recruited from various social strata and professions, and were an indispensible part of the ambience of public spaces in Europe especially in the period around 1900.

They were mostly people eking out a living at the periphery of society–beggars, paupers, wounded veterans of famous battles, but also men of the world who loved to chat, for whom the barrel organ was an important source of income. Already during the reign of Maria Theresa wounded veterans earned extra income by playing barrel organs and thus eased the burden on the state treasury. Often they borrowed their instruments from the makers for a deposit or a weekly fee, because they could not afford to buy their own.

The barrel organ, an instrument of street singers, sellers of fair songs, and travelling puppeteers, became a standard part of fair attractions including carousels. Organ grinders were attracted to large cities like Prague, Vienna, Paris, and London. Toward the end of the nineteenth century their presence there became such a burden that the government had to regulate them. Special licenses restricted the operations of organ grinders in large cities to only certain days in the week. Residents of London even sent a request to parliament to forbid the playing of barrel organs. At markets, church fairs, and taverns in rural areas, however, organ grinders were welcome guests. They brought news, and unknown urban melodies––polkas, waltzes, marches, cabaret songs, psalms, preludes, and chorales. Many broadside ballads even lived to see the twentieth century and became a source of nostalgic or humorous parodies.

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Barrel organ

Josef Kameník, Vyšehrad in Prague, second quarter of the twentieth century


One of the latest instrument by the Czech barrel organ maker Josef Kameník (1881-1946).

With his work the history of barrel organ production in our country came to an end.

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Barrel organ (original photography)

Gebrüder Riemer Musikwerke, Chrastava, 1897


Barrel organ (original photography)

Gebrüder Riemer Musikwerke, Chrastava, 1897


– 87 –– 86 –

Brother Riemer s first employees

Chrastava, 1897


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8

ThE ChildrEN’s OpEra BruNdibár

‘I sang in the chorus, which is constantly on stage. [...] In Terezín I even thought the closing song of Brundibár was the Czech national anthem!’ (Tommy Karas)

Terezín (Theresienstadt), a town in northern Bohemia ringed by fortress walls and moats, was chosen by the Nazis for the internment of Jews. The concentration camp, established in November 1941, served to intern Jews not only from the Czech lands but from all of occupied Europe. The large majority of them departed therefrom only to the extermination camps in the east, mainly Auschwitz. For artists and amateurs in Terezín music was an expression of the will to live and also an answer to the unequal struggle with brutality. At first cultural activities in the camp were forbidden, but then they were tolerated and later even officially supported by the camp’s administration as part of ‘Freizeitgestaltung’.

The Czech composer Hans Krása (born 1899 in Prague, died 1944 in Auschwitz) was deported to Terezín in August 1942. He composed even in the conditions of the camp and his works included the most successful presentation in Terezín, the children’s opera Brundibár, which he wrote together with the author of the libretto Adolf Hoffmeister already in 1938. The victory of the children over the evil organ grinder Brundibár became a symbol of defiance against a dictator on the part of defenceless children.

Rudolf Freundfeld-Franěk brought a piano-vocal score of Brundibár to the ghetto and had the greatest share in bringing about the production of the opera. His work was not easy. Departing transports removed Jewish children to extermination camps in the east, and they had to be replaced by children from new transports that arrived. The opening was on 23 September 1943 in the Magdeburg barracks. The opera scored a great success, and by the autumn of 1944 when the last transports left Terezín it had been given fifty-five times, which is to say about once a week.

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8

fairs aNd puppEt thEatErs

‘Oh, Vojtíšek, there was such a crowd of people there; I could have left my eyes and ears here. Band after band, here a male harpist, there a female one, here again a whole ensemble – I even saw organ grinders there. Wherever one looked people were eating, drinking, and dancing. And what comedies there were! Here one could see ten monkeys for two groschen, each more beautiful than the next; there one could behold a marionette comedy, and Princess Alceste screamed so loudly she would have been heard behind nine walls.’ (František Jaromír Rubeš)

Fairs at the times of church feasts had been important social events since time immemorial. During the nineteenth century the character of these fairs began to change, and their secular element prevailed over the religious. Fairs became a sought-after human entertainment. Comedians came who travelled with their attractions from one fair to another––the owners of seesaws, shooting galleries, and carousels, but also travelling theatres. The productions of most of the theatre troupes included not only presentations with live actors but also puppet performances. The puppet operators accompanied their presentations with the playing of a barrel organ. In the twentieth century fairground organs began to appear; instead of pinned barrels, perforated cardboard belts were now used. The fairground organ, powered by steam or later by electricity, did not require as much human attention and could play a long time without any human action.

In the summer the puppeteers gave their shows on marketplaces or village squares, in the winter in taverns. Thanks to low admission fees these presentations were accessible to everyone: children, adolescents, and their parents came together here, as did those who only came to the tavern for beer. Illiterate peasants as well as educated village teachers and chroniclers came to have a good time. The travelling puppeteers gave their performances in the Czech language––and earned a reputation as the first ‘national builders’.

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8

BroadsidE Ballads

‘Broadside ballads, which served as precursors to newspapers, were immensely popular among the common folk and encompassed a broad range of topics – from the latest events through lyrical and religious subjects and treatments of folk songs all the way to humour and parody.’ (Eva Ryšavá)

Popular at fairs, markets, and other festivities were broadside ballads––human stories with a dramatic text whose visual presentation was a painted picture divided into several smaller parts, illustrating the text of the song. The singer, accompanied by a barrel organ, illustrated the sung text by pointing to the individual pictures. Live performance had to capture the listener’s attention to the extent that the listener purchased the printed song. The topics of the songs were often current events –murders, suicides, or human stupidity, but also religious subjects. Authentic broadside ballads often served the function of sung news reports.

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Singers (drawing)

Alfred Kubín

Publ., Simplicissimus, 1933

(National Museum – National Museum Library, R. Hlava fund)

Josef Šváb Malostranský with broadside ballad (photograph, 1896)

Publ., České slovo, 4. 11. 1932

(National Museum – National Museum Library, R. Hlava fund)

– 97 –– 96 –

J. M. Bořický: O tom štiflpucrovi, anebo: Kdo jinému jámu kopá, sám do ní padá.

Broadside ballad parody

Print, Mikuláš a Knapp, Prague – Karlín, 1875–1880

(Národní Muzeum – National Museum Library, KP B 122/1)

– 99 –– 98 –

– 101 –– 100 –


– 103 –– 102 –

– 105 –– 104 –

– 107 –

9

rEEd automatophoNEs

In the late eighteenth century the effort to achieve variety and originality of sound led acousticians to experiment with metal reeds, so as to make the sound of machines resemble that of brass instruments. Among makers of automatophones who proceeded in this manner were Johann Kaufmann and his son Friedrich Kaufmann.

In 1805 they assembled an instrument they called a belloneon, containing twenty-four free reeds with appendages in the shape of trumpets and two kettle drums. They made it for the King of Prussia and placed it in a mahogany case. It is said that when Napoleon, after winning the battle at Jena in 1806, settled at the palace in Charlottenburg, the sound of trumpets suddenly rang out in the still of the night. Napoleon supposed he was being attacked and sounded the alarm. It turned out that the sounds emanated from the belloneon, which stood in the middle of a marble hall and had in its repertoire all the signals of the Prussian cavalry. The machine was probably activated accidently by some member of Napoleon’s entourage.

In the late nineteenth century free reeds were used in new types of automatophones. They were sounded by a perforated piece of cardboard in a circular shape, a metal disc, or a perforated belt joined in a circle. Instruments like the Intona, Ariston, Manopan, and Mignon were popular also as children’s toys.

– 109 –– 108 –

Manopan

Euphonika Musikwerke, Leipzig, ca. 1900


The Manopan was produced in several different types. Various models differed in the kind of reeds

used and the breadth of the cardboard belt. This model has twenty-four reeds and is driven by

a crank. The Manopan was on the market for about twenty-five years.

– 111 –– 110 –

Tanzbär

A. Zuleger, Leipzig, 1900-50


A mechanical accordion called a ‘dancing bear’. Inside the instrument is a perforated paper cylinder

that controls admission of air to twenty-eight reeds. Motion of the cylinder is controlled by pulling

a special level. The buttons are only for the sake of appearance.

– 113 –

10

PiaNola aNd rEproductioN piaNo

‘A Player Piano in Every Home in the Country!’‘Because the straight piano usually gets out of the home together with the boy or girl who learned to play it, while the Player-Piano stays at home because any of the remaining members of the family know how to operate it and make music for themselves.’ (Standard Player Monthly, 1926)

Late in the nineteenth century a clever combination of a perforated roll, pneumatic equipment, and a piano gave rise to a new instrument––the player piano. Its first types had the mechanism separate from the piano, and it had to be placed next to the piano for playing. Little mechanical fingers were positioned over the keyboard and played compositions according to perforations in a roll. Tempo, dynamics, and damping were controlled by a human, the ‘driver’ of the player piano. Later types of dampers were built directly into the piano. Up to a thousand new compositions were issued for the player piano each month, offered in print and in special catalogues. The broad repertoire of the perforated rolls ranged from Bach to ragtime.

In the twentieth century the Aeolian Company and Welte-Mignon presented a new type of mechanical piano––the ‘reproducing piano’, which faithfully played what was recorded on a roll including all phrasing, tempo changes, and dynamics. Even piano virtuosos and composers of the time, like Igor Stravinsky and Claude Debussy, were favourably impressed by the reproducing piano. In amazement they listened to their own performances, duplicated much more perfectly than on phonograph recordings. The superhuman possibilities of the mechanical piano inspired composers to write works whose performance surpassed the physical limits of players. These pieces reflected various avant-garde musical styles.

Production of mechanical pianos was halted in the 1930s by the economic depression, and not even after World War II did their sales reach such levels as before. However, the reproducing piano preserved the interpretational style of great masters even for today’s listeners.

– 115 –– 114 –

Piano Player

Ludwig Hupfeld A. G., Leipzig, ca. 1900


The phonola represents one of the many ways of mechanizing a piano. The device is brought up to the

keyboard and the artificial fingers of the player piano mechanism are activated by stepping on pedals,

playing a composition on the piano from a perforated role. This phonola can play seventy-three tones

and has levers controlling speed and, separately, the dynamics of lower and higher tones.

It also controls the pedal and the rewinding of the paper role.

During the time of his greatest fame Ludwig Hupfeld supplied more than 75 % of the player pianos

on the German market and was the largest producer of mechanical musical instruments in the world.

In the 1890s he began experimenting with pneumatic instruments, and their commercial success led

him to build a new factory with more than 100,000 square metres of floor space. As of 1912 Hupfeld

employed more than 1,200 workers. In 1917 he acquired the Rönisch piano factory in Dresden,

which already since the last years of the nineteenth century had been supplying him with pianos for

installation of the pneumatic equipment. During World War I production had to be adapted to the

situation, and instead of pianos the factory began making weapons. Although the firm returned to

its original orientation after the war, the decline in interest in mechanical pianos and the worldwide

economic depression brought the existence of the Hupfeld-Rönisch factory to an end in 1930.

– 117 –– 116 –

Phonola advertisement



Player piano

Popper & Co., Leipzig, first third of the twentieth century.


A player piano powered by electricity, originally at 110 Volts. The perforated roll controls eighty-

three keys and also a xylophone having twenty-seven tones, placed in the upper part of the piano.

– 119 –– 118 –

Player piano

Baker. Newark, New Jersey, ca. 1920-30.


The pneumatic mechanism of this player piano is activated by pressing pull-out pedals.

The mechanical piano is played by perforated roles of paper that control the movement

of all eighty-eight keys. They do not control tempo or dynamics, which however can be

influenced by a manipulation device located beneath a pull-out panel next to the keyboard.

On the perforated roll one finds only indication of what dynamics and tempo can be used.

Printed on some rolls are also the words of the song being played, so that the operator

can play and sing at the same time. Like many other makers, Baker engaged in trade in

musical instruments. He did not manufacture the player piano mechanism but only

inserted it into upright pianos.

http://youtu.be/J99wRKCGOH0



– 121 –– 120 –

The Czech violinist and composer Jan Kubelík with Ludvík Šváb at the Býchory stately home

Photograph, 1910

In the foreground an automatic harmonium made by the Aeolian Company of New York. Called in

advertisements the Aeolian Orchestrelle, it was produced roughly during the period 1905-10.

(National Museum - Czech Museum of Music)

– 123 –– 122 –

Cover of the American magazine Standard Player Monthly from 1926


The publisher of this magazine – the Standard Pneumatic Action Company – also produced a pneumatic

mechanism frequently used in the production of player pianos. According to this promotional monthly,

ownership of a player piano was a social necessity. Besides lists of newly-released player piano rolls,

the magazine also contained advertisements, quizzes, and profiles of musicians.

Ema Destinnová, the world-famous Czech opera singer,

in a promotional photograph with a Hardman Autotone player piano.

Photograph, early twentieth century.


– 125 –– 124 –


– 127 –

11

OrCHESTrIONs

‘Don’t miss it! In our tavern you’ll find an orchestrion with the best popular songs from Prague and Vienna, a dance hall, and beer of the highest quality!’ Thus might have sounded an advertisement luring customers to a pub in the late nineteenth century.

Taverns and restaurants used to be much more numerous than today, and they were the site of all social events and meetings of associations. Some of them boasted of excellent dining, or in the summer of outdoor seating, while others had acclaimed dance halls. Music for dancing was provided by pianists, accordionists, or in lower-class establishments organ grinders. Around 1900 orchestrions became a fashionable hit, and during the period of the ‘First Republic’ (between the world wars) there was an orchestrion in perhaps every tavern. Their brisk sound had to replace that of a band and be audible over the noise of the tavern, in order for the guests to be able to hear it and dance to it. The orchestrion’s case was often a work of art in itself, usually decorated to a greater or lesser degree with carved details and various ornaments, and the orchestrion often had auxiliary components like cymbals or other instruments. Interest in orchestrions did not decline until around 1930, when they were replaced by phonographs, and later with the dissemination of electricity and other technical innovations.

– 129 –– 128 –

Orchestrion

Eduard Dienst & Co., Leipzig, 1900–10


‘Dienst’s International Orchestrion’ consists of a tall case

with a colourful stained-glass window in the front door.

(The height was very important, because the back side bears

the weights that drive the orchestrion.) Stored on the pinned

cylinder are six compositions. Moving the cylinder to one side

allows the playing of the next song.

The orchestrion has a piano unit with thirty-five tones, also

a mandolin (creating a tremolo effect) with fourteen tones and

a xylophone with nine tones. The percussion part consists

of a large and small drum and a cymbal. The whole instrument

is activated by inserting a coin.

The firm of Dienst & Co. was founded in 1871 and to the end

of the nineteenth century concentrated on production of

orchestrions. Later it began taking an interest in pneumatic

instruments using a perforated roll. It was one of the few

German makers to find a market in the United States.

– 131 –– 130 –

Eduard Dienst & Co. factory advertisement



– 132 –

Orchestrion

Jan Štycha, Mnichovice , second half of the nineteenth century


It is not known whether the inscription on the face of this piano orchestrion, ‘Jan Štycha in Mnichovice

near Prague’, refers to the maker, the seller, or only the maker of some component. In production of

orchestrions it was common for the case to be made by one craftsman and the cylinder by another.

This cylinder bears eight short songs. The piano unit has twenty tones, and the mandolin effect fifteen

tones. The cylinder also controls a small drum, cymbal, and triangle. It is activated by inserting a coin.

http://youtu.be/PKGpF_ESoKc



– 135 –– 134 –

Fairground organ

Gebrüder Bruder, Waldkirch, second half of the nineteenth century


A fairground organ (or fairground orchestrion) from the small Black

Forest town of Waldkirch, famous for the making of this type of

instrument. Among those who began in Waldkirch were Gavioli

and Limonaire. The firm of Gebrüder Bruder was the largest

producer of fairground organs. The factory was founded by

Ignaz Bruder, and its prosperity ensured by his fourteen sons.

This instrument uses a perforated cardboard roll instead

of a cylinder, and a pneumatic system.

– 137 –– 136 –


– 139 –

The electrification of musical instruments in the twentieth century played an important role in changing the method of powering musical machines as well as in their programming. The basis of the new type of instruments consisted of the electronic tone generator and the sequencer, equipment for distribution of sounds in time, which replaced pinned cylinders, metal discs with projections, and the perforated cardboard belt of orchestrions.

Instruments were invented that imitated the sounds of their acoustical predecessors. But instruments also appeared producing entirely new sounds, with new possibilities for recording and playing back compositions, even such as to allow immediate editing of the sequencer during playing, as though the position of pins on a playing cylinder were changed during operation. Paradoxically, automatophones became instruments in ‘ live acts’.

One of the first electronic automatophones produced was the synthesizer with sequencer. In 1957 the RCA company presented the first programmable synthesizer, called the Victor. This synthesizer, the size of a whole room, still worked with a perforated paper belt, as in the case of the player piano, and accepted instructions concerning what, when, and how to play. The program was able to perform compositions so technically difficult that they could not be played on acoustical instruments. In the mid-1960s automatic drummers came into being, then toward the end of the twentieth century the first groove boxes––a comprehensive playing machine with a large number of stored sounds. With the development and simplification of personal computers, physical instruments began to face competition from their software adaptations.

Inseparably associated with electronic automatophones are some new musical genres having a distinctive listeners’ culture. Thus hip-hop was based on the machine called Akai MPC, and techno on the Roland TB-303 and TR-808. Their restricted method of generating sequences and the resulting repetitive nature of the music they produced divided millions of people into two opposing camps of fans and opponents. Today, however, many genres of electronic dance music are no longer a peripheral matter of the underground, but have become the basis of contemporary popular music and also a part of the normal sound environment that rolls over us daily from radio and television.

12

ElEctroNic automatophoNEs

– 141 –– 140 –

Modular synthesizer called Číslizvuk (Sounding Numbers)

Radio and Television Research Institute, Prague, 1970s


– 143 –– 142 –


– 145 –– 144 –

– 147 –

13

fEEDBaCK fROM THE VISITOrS‘ bOOK

– 149 –– 148 –

– 151 –

14

aCCOMPaNYING PrOGraM

Brundibár – children‘s opera about the evil organ grinder Brundibár

Disman Broadcast Children‘s Company and chambre orchestra Archioni Plus

4. 11. 2012, Czech Museum of Music

– 153 –– 152 –

Jan Hochsteiger and his show and tell evening with player piano


Brundibár – children‘s opera about the evil organ grinder Brundibár

Disman Broadcast Children‘s Company and chambre orchestra Archioni Plus


– 155 –

15

LIST Of THE EXHIBITED INSTrUMENTS

CARILLONS

– Pendulum clock with carillon, first half of the nineteenth century,

North Bohemian Museum in Liberec, Eg 1097

– Pendulum clock with carillon, first half of the nineteenth century,

North Bohemian Museum in Liberec, Eg 2178

– Table clock with carillon, Josef Uhl, second half of the eighteenth century,

National Technical Museum, 24955

– Trauttmansdorff clock with carillon, 1596, National Library of the Czech Republic, P 803

– Carillon mechanism, eighteenth century, National Museum, E 2112

FLUTE CLOCKS

– Flute clock, Václav Vencl, first half of the nineteenth century, National Museum, E 718

– Flute clock, Václav Vencl, first half of the nineteenth century, National Museum, E 759

– Flute clock, Petr Heinrich, first half of the nineteenth century, National Museum, E 2113

MUSIC BOXES

– Haberdashery music box, late nineteenth century, National Museum, E 1981

– Music goblet, nineteenth century, National Museum, E 2111

– Production machinery for mounting of playing cylinders, Willenbacher-Řebíček, ca. 1840,


– Music mug, late nineteenth century, National Technical Museum, 30998

– Photo album with music box mechanism, ca. 1895, National Technical Museum, 30999

– Music box with disc in a painted case, ca. 1900, National Technical Museum, 31000

– Carousel with music box mechanism, Wendt und Kühn, ca. 1920,


– Hand-cranked canister with music box mechanism, late nineteenth century,


– Christmas tree stand with music box mechanism, Adrien Lador, ca. 1900,


– Canister with music box mechanism, late nineteenth century, National Technical Museum, 57914

– Dancer with music box mechanism, ca. 1900, National Technical Museum, 57948

– Pocket watch with music box mechanism, 1800-30, National Technical Museum, 62958

– Swiss Music Box, ca. 1870-90, National Museum, E 699

– 157 –– 156 –



– Music Box, Gustav Řebíček, ca. 1870-93, National Museum, E 1972

– Music Box, František Řebíček, ca. 1830-70, National Museum, E 1521

– Music Box, late nineteenth century, National Museum, E 1983

– Music Box, Johann Heinrich Heller, late nineteenth century, National Museum, E 1968

POLYPHONS AND SYMPHONIONS

– Polyphon with disc changer, Polyphon Musikwerke, ca. 1900, National Museum, E 1941

– Polyphon, Polyphon Musikwerke, ca. 1900, National Museum, E 2080

– Table polyphon, Polyphon Musikwerke, ca. 1900, National Museum, E 1980

– Table polyphon with bells, Polyphon Musikwerke, early twentieth century,

National Museum, E 1977

– Table symphonion, Symphonion Musikwerke, late nineteenth century, National Museum, E 694

– Symphonion, Symphonion Musikwerke, ca. 1900, National Technical Museum, 16798

AUTOMATONS AND ANDROIDS

– Monkey with a musical box mechanism, late eighteenth century, Museum of Decorative Arts

– Singing bird, Karl Griesbaum, ca. 1910, National Technical Museum, 26575

– Flute player, Gustav Uhlig, ca. 1900, National Technical Museum, 35389

– Banjo player, Gustav Vichy, late nineteenth century, National Museum, E 2110

REED AUTOMATOPHONES

– Ariston, Paul Ehrlich, last quarter of the nineteenth century, National Museum, E 1965

– Manopan, Euphonika Musikwerke, ca. 1900, National Museum, E 2000

– Amorette with dancing figures, Euphonika Musikwerke, 1890, National Technical Museum, 38305

– Tanzbär, A. Zuleger, 1900-50, National Museum, E 1979

BARREL ORGANS

– Pipe barrel organ from a shooting gallery, ca. 1900, National Technical Museum, 24185

– Pipe barrel organ with a monkey band, ca. 1840, National Technical Museum, 31507

– Savoyard, Polyphon Musikwerke, Leipzig, ca. 1900, National Technical Museum, 38306

– Reed barrel organ, Karel Rubeš, 1948, National Technical Museum, 57930

– Barrel organ, Josef Riemer, early twentieth century, North Bohemian Museum in Liberec, Ka 1560

– Barrel organ, Václav Hrubeš II, second half of the nineteenth century,


– Barrel organ, Josef Kameník, 1946, National Museum, E 1835

– Barrel organ, Josef Kameník, second quarter of the twentieth century,


PIANOLAS AND REPRODUCTION PIANO

– Player piano, Baker. ca. 1920-40, National Museum, E 1560

– Piano Player, Ludwig Hupfeld, nineteenth-twentieth century, National Museum, E 1565

– Player piano, Popper, first third of the twentieth century, National Museum, E 2947

ORCHESTRIONS

– Orchestrion, Eduard Dienst & Co., 1900-10, National Museum, E 1981

– Orchestrion, Jan Štycha, second half of the nineteenth century, National Museum, E 2077

– Orchestrion, Jan Vrba a spol., early twentieth century, National Museum, E 2346

T– rumpet orchestrion, A. Wolf, first half of the nineteenth century, National Museum, E 2309

– Fairground organ, Gebrüder Bruder, second half of the nineteenth century,


– Fairground organ, Fritz Wrede, early twentieth century, National Museum, E 2078

ELECTRONIC AUTOMATOPHONES

– Modular synthesizer called Číslizvuk (Sounding Numbers), Radio and Television Research Institute,

1970s, National Museum, E 2793

– 159 –

16

INSTaLLaTION Of THE EXHIBITION

– 161 –– 160 –

– 163 –

17

PHOTOGraPHSaNd BIBLIOGraPHY

BIBLIOGRAPHY

BOWERS, Q. David. Encyclopedia of automatic musical instruments. New York: Vestal press, 1972

BUCHNER, Alexander. České automatofony. Praha: Národní muzeum, 1957

BUCHNER, Alexander. Hudební automaty. Praha: SNKLHU, 1957

BUCHNER, Alexander; Rouillé Philippe. Les instruments de musique mécanique. Paris: Gründ, 1992

HASPELS, J. J. L.ed. Royal music machines. Zutphen: Walburg press, c2006

HRABÁK, Zdeněk; NOVÁKOVÁ, Kateřina; VOLNÝ Jiří. Automatofony: mechanické hudební stroje

ve sbírkách Severočeského muzea v Liberci. Liberec: Severočeské muzeum, c2007

KLIKAŘ, Miloš. Hodiny ze Schwarzwaldu. Praha, 2005

KONEČNÁ Hana; VOLNÝ, Jiří: Flašinety a kolovrátky. Liberec: Severočeské muzeum, c2009

PHOTOGRAPHS (on the pages)

BALOG, Peter: 75, 153, 159, 160–161

KŘÍŽENECKÝ, Jan: 18, 19, 32, 44, 45, 46, 47, 48–49, 50, 51, 52–53, 54, 55, 60, 61, 62, 63,

64, 65, 82, 83, 108–109, 110–111, 140, 141, 144–145

MUSEUM SPEELKLOK: 13, 14, 15, 16–17, 37, 38–39

MUSIL, Martin: 128–129, 134–135

SOUČKOVÁ, Taťána: 151, 152

ŠEVČÍK, Pavel: 9, 142–143

VETIŠKA, Ondřej: 22–23, 26, 33, 40–41, 56–57, 66, 70–71, 78–79, 100–101, 102–103,

104–105, 114, 117, 119, 124–125, 132, 133, 136–137

– 165 –

18

colophoN

THE EXHIBITION WAS PART OF THE EXHIBITION PROJECT MONARCHY.

THE EXHIBITION WAS PREPARED BY

The National Museum – Czech Museum of Music

COMMISSIONER OF THE EXHIBITION

Emanuele Gadaleta

AUTHORS

Peter Balog, Taťána Součková

CO-AUTHOR

Dagmar Štefancová

ARCHITECTURAL DESIGN

ROBUST architects – Ondřej Busta, Robert Damec

GRAPHIC DESIGN

PURPURE – Pavel Ševčík

PRODUCTION

Martin Musil

VIDEORECORDINGS OF THE EXHIBITS

Tomáš Kratochvíl

MARKETING

Elen Šťastná, Lenka Matoušková

PUBLIC RELATIONS

Petra Belaňová, Ondřej Grym, Ivana Havlíková, Lenka Kobrová

– 167 –– 166 –

REALISATION

Karel Stöhr

PRINT

System Car

ENGLISH TRANSLATION

David R. Beveridge

SHARING IN THE EXHIBITION

Conservatoire National des Arts et Métiers

Divadelní oddělení Národního muzea

Etnografické oddělení Národního muzea

Knihovna Národního muzea

Musée d’Art et d’Histoire Neuchâtel

Museum Speelklok

Muzeum hlavního města Prahy

Národní knihovna České republiky

Národní památník Terezín

Národní technické muzeum

Scott Polar Research Institute

Severočeské muzeum v Liberci

Vlastivědné muzeum v Olomouci

Židovské muzeum v Praze

THE EXHIBITION TEAM THANKS FOR COLLABORATION

Lisette Biere, Jan Bondra, Jiří Bouda, Alexander Buchner †, Martina Čechová,

Frédérique Desvergnes, Jana Dvořáková, Britta Edelmann, Iva Gaudesová, Honza Hrdlička,

František Ibl, Hana Jakůbková, Hanuš Jordan, Daniela Karasová, Michal Klacek, Ivan Kopecký,

Miroslav Kosťun, Tomáš Kratochvíl, Claude-Alain Künzi, Libor Lacina, Lucy Martin, Daniela Meravá,

Petr Nekuža, Matěj Pospíšil, Phillipe Rouillé, Mike Ruta, Pavel Scheufler, Michael Start,

Lenka Šaldová, Antonín Švejda, Tim Trager, Marta Vaculínová, Běla Vančatová, Jirka Volný

Supported by

Partner of the National Museum

Media Partners of the National Museum

Partners of the Exhibition

www.nm.cz

magical music machines

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