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en:instrumente_sind_spielbar [2019/02/27 21:48]
admin
en:instrumente_sind_spielbar [2019/03/09 17:44]
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 +  * **[[Sammlung|History of the Collection]]**
  
 +  * **[[Aufbau der Sammlung|Building the Collection]]**
 +
 +===== Instruments are playable =====
 +
 +An important concern of mine is that the instruments are playable: They were created to sound, and they should still be able to fulfill this function as historical testimonies. I get many of my flutes in poor condition: Obviously they have not been played for years or even decades, some have been treated badly and most have been unfavorably stored. In order to be playable again, they must be carefully cleaned, the pads renewed, the mechanics oiled and adjusted, springs and tuning cork replaced.
 +Particularly demanding is the repair of cracks in the wood or ivory, replacement of missing parts such as rings, keys or caps, etc. This work entails high professional competence, is often time-consuming and is best left to experienced instrument makers – which rises costs accordingly. Of course, any repair means an intervention in the '​originality'​ of the instrument. Therefore, replaced parts should be kept and more severe measures - such as the closure of larger cracks or splinterings in wooden flutes - should be documented. Such interventions (for example, when using synthetic resin adhesives) are usually irreversible.
 +
 +{{:​ziegler_vor_restaurierung1.jpg?​250|}} ​ {{ :​85-2.jpg?​400|}}{{ :​85-3.jpg?​250|}}
 +
 +\\ //Flute by Johann Joseph Ziegler (Vienna, c. 1855) before and after the repair by Björn Kempf, Berlin. Wooden flutes of the 19th century from England, Germany and Austria often have headjoints with an inserted ​ metal tube. This often leads to cracks in the outer tube material (mostly ​ wood, often also ivory) which, in contrast to the stable inner tube, shrinks due to the drying out.//
 +
 +
 +\\ It is obvious that the use of historical musical instruments has its dangers.
 +This is especially true for long, unused woodwind instruments,​ whose dried wood can crack under the influence of the warm and moist blown air. For these conservational reasons (but often also for lack of personal), most public museums and collections are forced to '​decommission'​ their musical instruments and only in special cases hand them out for further study. Some of the very few museums that hand out original woodwind instruments - under restrictive conditions of course - are the Bate Collection in Oxford and, more recently, the 'Burri Collection’ in Bern. The risk of damage caused by use can be considerably reduced, if the instruments are stored and maintained expertly, and are played carefully and regularly. Accordingly have I hardly noticed any damage to my flutes so far.
 +
 +\\ ==== Public Study Collection? ====
 +
 +{{:​dsc03523.jpg?​280 |}} Under these conditions, I am willing to make my instruments available to responsible musicians for further study. It seems important to me that as many flutists as possible, especially students, can experience the variety and the specific playing and sound characteristics of original historical flutes. I hope that further suitable originals from my collection will be copied, in order to make a wider range of historical models available to the public. I am convinced that the use of original instruments will give a deeper insight into the sound world of former composers and thus give new impetus for the interpretation of their works – not least on the modern '​standardized'​ Boehm flute. Thus - in due course and under clearly defined conditions - I am thinking of leaving my instruments to a suitable institution as a publicly accessible study collection. ​
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