PUBLICATION ON THE OCCASION OF THE EXHIBITION

MONARCHY MAGICAL MUSIC MACHINES

MONARCHY
MAGICAL MUSIC MACHINES
AUTHORS
BALOG, Peter
SOUKOV, Tana

www.nm.cz
First published in 2013 by the National Museum.

ISBN 9788070364086

tablE of coNtENtS

1 INTRODUCTION

2 CARILLONS

10

3 SELFPLAYING ORGANS (ORGAN AUTOMATOPHONES)

24

4 COMPOSITIONS FOR FLUTE CLOCK

30

PRIMITIVIUS NIEMETZ

34

5 MUSIC BOXES

42

6 POLYPHONS AND SYMPHONIONS

58

7 AUTOMATONS AND ANDROIDS

72

FANTASMAGORY

76

8 BARREL ORGANS

80

THE CHILDRENS OPERA BRUNDIBR

88

FAIRS AND PUPPET THEATERS

90

BROADSIDE BALLADS

92

9 REED AUTOMATOPHONES

106

10 PIANOLA AND REPRODUCTION PIANO

112

11 ORCHESTRIONS

126

12 ELECTRONIC AUTOMATOPHONES

138

13 FEEDBACK FROM THE VISITORS BOOK

146

14 ACCOMPANYING PROGRAM

150

15 LIST OF THE EXHIBITED INSTRUMENTS

154

16 INSTALLATION OF THE EXHIBITION

158

17 PHOTOGRAPHS AND BIBLIOGRAPHY

162

18 COLOPHON

164

NOTE
There are

video hyperlinks in the text.

Click on the arrow icon to play the video.

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 Museums 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 slizvuk
(Sounding Numbers).


The exhibition was enhanced by a series of accompanying events such as
a performance by barrel organ players in the museums atrium, show-and-tell player
piano evenings with Jan Hochsteiger, a lecture by Antonn vejda, and a presentation
by the Archioni Plus Chamber Orchestra and the Disman Radio Ensemble led by Zdena
Fleglov of the opera Brundibr.

Special thanks go to Pavel evk 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.

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 141922.

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.

11

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 Pragues Clementinum, where it is deposited to this day.

12

 14

15

Carillon mechanism
Anonymous, Bohemia (?), eighteenth century
(National Museum - Czech Museum of Music, E 2112)

18

19

Salzburg carillon
Christoph Lederwasch, Austria, 1704
(University Library Salzburg, G 174 II)

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Photograph from the exhibition

3
SElfPlayiNg
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 imon Josef
Truska, the last lay brother of the Premonstratensian monastery at Strahov in Prague.

25

Self playing organ in secretary

Self playing organ with animal voices and singing bird

imon Josef Truska, Prague, 1774

Athanasius Kircher, Musurgia Universalis, 1650

(National Museum - Czech Museum of Music, E 2059)

26

27

Self playing organ with blacksmiths

Athanasius Kircher, Musurgia Universalis, 1650

28

29

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 (17321809) 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-Mller (17501804) 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 Beethovens 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.

31

Flute clock

Flute clock

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

Petr Heinrich, Prague, first half of the nineteenth century

(National Museum - Czech Museum of Music, E 718)

(National Museum - Czech Museum of Music, E 2113)

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4
Primitivus NiEmEcz

Primitivius Niemecz Cmi Principis Esterhzy 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 Vlaim, Bohemia, died 1806 in Vienna), librarian
of Prince Esterhzy. 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 Esterhzy in Hungary. Prince Nikolaus I of Galntha,
true to his nickname der Prachtliebende (Lover of Splendour), loved pomp, but also
had a good understanding of music. In his palace Esterhza, 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.

Haydns friendship with Primitivus Niemecz influenced the latters 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.

35

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)

36

37

Photograph from the exhibition

40

41

5
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, Frantiek
ebek, 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.

43

Music Box
Frantiek ebek, Prague, ca. 1830-70
(National Museum - Czech Museum of Music, E 1521)
This simple music box with up to 103 teeth plays four compositions.
The same models were also made by Frantiek ebeks son Gustav.

http://youtu.be/zDlyKGsMRY4

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45

Swiss Music Box

Anonymous, western Europe, ca. 1870-90
(National Museum - Czech Museum of Music, E 699)
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 Cleste,
i.e. Celestial Voice. It plays eight compositions.
http://youtu.be/BrYDTuOOoj8

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47

Swiss Music Box

Anonymous, western Europe, ca. 1870-90
(National Museum - Czech Museum of Music, E 704)
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

50

51

Music Box
Johann Heinrich Heller, Bern, late nineteenth century
(National Museum - Czech Museum of Music, E 1968)
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.

Music goblet
Anonymous, nineteenth century
(National Museum - Czech Museum of Music, E 2111)

54

55

Photograph from the exhibition

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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
(National Museum - Czech Museum of Music, E 694)
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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61

Table polyphon with bells

Polyphon Musikwerke, Leipzig, early twentieth century
(National Museum - Czech Museum of Music, E 1977)
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.

62

63

Table polyphon
Polyphon Musikwerke, Leipzig, ca. 1900
(National Museum - Czech Museum of Music, E 1980)
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: mal 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.

64

65

Polyphon with disc changer

Polyphon Musikwerke, Leipzig, ca. 1900
(National Museum - Czech Museum of Music, E 1941)
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 fr Instrumentenbau, Leipzig, 19001901

http://youtu.be/Z84LZEXirbI

(private collection)

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Polyfon Musikwerke factory advertisement

Music machine with snooker advertisement

Zeitschrift fr Instrumentenbau, Leipzig, 18951986

Zeitschrift fr Instrumentenbau, Leipzig, 19001901

(private collection)

(private collection)

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Photograph from the exhibition

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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 selfmoving 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. Ren 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
(National Museum - Czech Museum of Music, E 2110)
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 Throude,
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 Bedich 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 Str 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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Photograph from the exhibition

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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 societybeggars,
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 melodiespolkas, 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 Kamenk, Vyehrad in Prague, second quarter of the twentieth century
(National Museum - Czech Museum of Music, E 1940)
One of the latest instrument by the Czech barrel organ maker Josef Kamenk (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)

Barrel organ (original photography)

Gebrder Riemer Musikwerke, Chrastava, 1897

Gebrder Riemer Musikwerke, Chrastava, 1897

(private collection)

(private collection)

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Brother Riemers first employees

Chrastava, 1897
(private collection)

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8
ThE ChildrENs
OpEra BruNdibr

I sang in the chorus, which is constantly on stage. [...] In Terezn I even thought the
closing song of Brundibr was the Czech national anthem!

(Tommy Karas)

Terezn (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
Terezn 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 camps administration
as part of Freizeitgestaltung.

The Czech composer Hans Krsa (born 1899 in Prague, died 1944 in Auschwitz)
was deported to Terezn in August 1942. He composed even in the conditions of
the camp and his works included the most successful presentation in Terezn, the
childrens opera Brundibr, 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 Brundibr became a symbol of defiance against a dictator on the part of
defenceless children.

Rudolf Freundfeld-Frank brought a piano-vocal score of Brundibr 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 theMagdeburg barracks. The
opera scored a great success, and by the autumn of 1944 when the last transports
left Terezn 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, Vojtek, 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.

(Frantiek Jaromr Rube)

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 soughtafter human entertainment. Comedians came who travelled with their attractions from
one fair to anotherthe 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 languageand earned a reputation
as the first national builders.

91

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 Ryav)

Popular at fairs, markets, and other festivities were broadside balladshuman
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 listeners 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.

93

Josef vb Malostransk with broadside ballad (photograph, 1896)

Publ., esk slovo, 4. 11. 1932
(National Museum National Museum Library, R. Hlava fund)

Singers (drawing)
Alfred Kubn
Publ., Simplicissimus, 1933
(National Museum National Museum Library, R. Hlava fund)

94

95

J. M. Boick: O tom tiflpucrovi, anebo: Kdo jinmu jmu kop, sm do n pad.

Broadside ballad parody
Print, Mikul a Knapp, Prague Karln, 18751880
(Nrodn Muzeum National Museum Library, KP B 122/1)

96

97

 98

99

Photograph from the exhibition

100

101

 102

103

 104

105

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 Napoleons 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 childrens toys.

107

Manopan
Euphonika Musikwerke, Leipzig, ca. 1900
(National Museum - Czech Museum of Music, E 2000)
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.

108

109

Tanzbr
A. Zuleger, Leipzig, 1900-50
(National Museum - Czech Museum of Music, E 1979)
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.

110

111

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 instrumentthe 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 pianothe 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 todays listeners.

113

Piano Player
Ludwig Hupfeld A. G., Leipzig, ca. 1900
(National Museum - Czech Museum of Music, E 1565)
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 Rnisch 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-Rnisch factory to an end in 1930.

114

115

Player piano
Popper & Co., Leipzig, first third of the twentieth century.
(National Museum - Czech Museum of Music, E 2947)
Phonola advertisement
Zeitschrift fr Instrumentenbau, Leipzig, 19041905

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

(private collection)

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

116

117

Player piano
Baker. Newark, New Jersey, ca. 1920-30.
(National Museum - Czech Museum of Music, E 1560)
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

118

119

The Czech violinist and composer Jan Kubelk with Ludvk vb at the Bchory 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)

120

121

Ema Destinnov, the world-famous Czech opera singer,

in a promotional photograph with a Hardman Autotone player piano.
Photograph, early twentieth century.
(private collection)
Cover of the American magazine Standard Player Monthly from 1926
(private collection)
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.

122

123

Photograph from the exhibition

124

125

11
OrCHESTrIONs

Dont miss it! In our tavern youll 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 lowerclass 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 orchestrions 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.

127

Orchestrion
Eduard Dienst & Co., Leipzig, 190010
(National Museum - Czech Museum of Music, E 1981)
Diensts 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.

128

129

Eduard Dienst & Co. factory advertisement

Zeitschrift fr Instrumentenbau, Leipzig, 19061907
(private collection)

130

131

Orchestrion
Jan tycha, Mnichovice , second half of the nineteenth century
(National Museum - Czech Museum of Music, E 2077)
It is not known whether the inscription on the face of this piano orchestrion, Jan tycha 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

132

Fairground organ
Gebrder Bruder, Waldkirch, second half of the nineteenth century
(National Museum - Czech Museum of Music, E 2079)
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 Gebrder 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.

134

135

Photograph from the exhibition

136

137

12
ElEctroNic
automatophoNEs

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 boxesa 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.

139

Modular synthesizer called slizvuk (Sounding Numbers)

Radio and Television Research Institute, Prague, 1970s
(National Museum - Czech Museum of Music, E 2793)

140

141

Photograph from the exhibition

142

143

 144

145

13
fEEDBaCK fROM
THE VISITOrS bOOK

147

 148

149

14
aCCOMPaNYING
PrOGraM

Brundibr childrens opera about the evil organ grinder Brundibr

Disman Broadcast Childrens Company and chambre orchestra Archioni Plus
4. 11. 2012, Czech Museum of Music

151

Brundibr childrens opera about the evil organ grinder Brundibr

Jan Hochsteiger and his show and tell evening with player piano

Disman Broadcast Childrens Company and chambre orchestra Archioni Plus

17. 1. 2013, Czech Museum of Music

4. 11. 2012, Czech Museum of Music

152

153

15

CARILLONS
Pendulum clock with carillon, first half of the nineteenth century,
North Bohemian Museum in Liberec, Eg 1097

LIST Of
THE EXHIBITED
INSTrUMENTS

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, Vclav Vencl, first half of the nineteenth century, National Museum, E 718
Flute clock, Vclav 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-ebek, ca. 1840,
National Technical Museum, 3906
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 Khn, ca. 1920,
National Technical Museum, 57543
Hand-cranked canister with music box mechanism, late nineteenth century,
National Technical Museum, 57545
Christmas tree stand with music box mechanism, Adrien Lador, ca. 1900,
National Technical Museum, 57910
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

155

 Swiss Music Box, ca. 1870-90, National Museum, E 704

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

Swiss Music Box, ca. 1870-90, National Museum, E 2088

Barrel organ, Vclav Hrube II, second half of the nineteenth century,

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

National Museum, E 1938

Music Box, Frantiek ebek, ca. 1830-70, National Museum, E 1521

Barrel organ, Josef Kamenk, 1946, National Museum, E 1835

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

Barrel organ, Josef Kamenk, second quarter of the twentieth century,

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

National Museum, E 1940

POLYPHONS AND SYMPHONIONS

PIANOLAS AND REPRODUCTION PIANO

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

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

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

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

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

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

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

National Museum, E 1977

ORCHESTRIONS

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

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

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

Orchestrion, Jan tycha, second half of the nineteenth century, National Museum, E 2077
Orchestrion, Jan Vrba a spol., early twentieth century, National Museum, E 2346

AUTOMATONS AND ANDROIDS

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

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

Fairground organ, Gebrder Bruder, second half of the nineteenth century,

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

National Museum, E 2079

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

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

Banjo player, Gustav Vichy, late nineteenth century, National Museum, E 2110
ELECTRONIC AUTOMATOPHONES
REED AUTOMATOPHONES

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

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

1970s, National Museum, E 2793

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

Amorette with dancing figures, Euphonika Musikwerke, 1890, National Technical Museum, 38305
Tanzbr, 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 Rube, 1948, National Technical Museum, 57930

156

157

16
INSTaLLaTION
Of THE EXHIBITION

159

 160

161

17

PHOTOGRAPHS (on the pages)

BALOG, Peter: 75, 153, 159, 160161
KENECK, Jan: 18, 19, 32, 44, 45, 46, 47, 4849, 50, 51, 5253, 54, 55, 60, 61, 62, 63,

PHOTOGraPHS
aNd BIBLIOGraPHY

64, 65, 82, 83, 108109, 110111, 140, 141, 144145

MUSEUM SPEELKLOK: 13, 14, 15, 1617, 37, 3839
MUSIL, Martin: 128129, 134135
SOUKOV, Tana: 151, 152
EVK, Pavel: 9, 142143
VETIKA, Ondej: 2223, 26, 33, 4041, 5657, 66, 7071, 7879, 100101, 102103,
104105, 114, 117, 119, 124125, 132, 133, 136137

BIBLIOGRAPHY
BOWERS, Q. David. Encyclopedia of automatic musical instruments. New York: Vestal press, 1972
BUCHNER, Alexander. esk automatofony. Praha: Nrodn muzeum, 1957
BUCHNER, Alexander. Hudebn automaty. Praha: SNKLHU, 1957
BUCHNER, Alexander; Rouill Philippe. Les instruments de musique mcanique. Paris: Grnd, 1992
HASPELS, J. J. L.ed. Royal music machines. Zutphen: Walburg press, c2006
HRABK, Zdenk; NOVKOV, Kateina; VOLN Ji. Automatofony: mechanick hudebn stroje
ve sbrkch Severoeskho muzea vLiberci. Liberec: Severoesk muzeum, c2007
KLIKA, Milo. Hodiny ze Schwarzwaldu. Praha, 2005
KONEN Hana; VOLN, Ji: Flainety a kolovrtky. Liberec: Severoesk muzeum, c2009

163

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, Tana Soukov
CO-AUTHOR
Dagmar tefancov
ARCHITECTURAL DESIGN
ROBUST architects Ondej Busta, Robert Damec
GRAPHIC DESIGN
PURPURE Pavel evk
PRODUCTION
Martin Musil
VIDEORECORDINGS OF THE EXHIBITS
Tom Kratochvl
MARKETING
Elen astn, Lenka Matoukov
PUBLIC RELATIONS
Petra Belaov, Ondej Grym, Ivana Havlkov, Lenka Kobrov

165

REALISATION
Karel Sthr
PRINT
System Car
ENGLISH TRANSLATION
David R. Beveridge
Supported by
SHARING IN THE EXHIBITION
Conservatoire National des Arts et Mtiers
Divadeln oddlen Nrodnho muzea
Etnografick oddlen Nrodnho muzea
Knihovna Nrodnho muzea
Muse dArt et dHistoire Neuchtel
Museum Speelklok

Partner of the National Museum

Muzeum hlavnho msta Prahy

Nrodn knihovna esk republiky
Nrodn pamtnk Terezn
Nrodn technick muzeum
Scott Polar Research Institute
Severoesk muzeum vLiberci
Vlastivdn muzeum vOlomouci

Media Partners of the National Museum

idovsk muzeum vPraze

THE EXHIBITION TEAM THANKS FOR COLLABORATION
Lisette Biere, Jan Bondra, Ji Bouda, Alexander Buchner , Martina echov,
Frdrique Desvergnes, Jana Dvokov, Britta Edelmann, Iva Gaudesov, Honza Hrdlika,
Frantiek Ibl, Hana Jakbkov, Hanu Jordan, Daniela Karasov, Michal Klacek, Ivan Kopeck,
Miroslav Kosun, Tom Kratochvl, Claude-Alain Knzi, Libor Lacina, Lucy Martin, Daniela Merav,

Partners of the Exhibition

Petr Nekua, Matj Pospil, Phillipe Rouill, Mike Ruta, Pavel Scheufler, Michael Start,
Lenka aldov, Antonn vejda, Tim Trager, Marta Vaculnov, Bla Vanatov, Jirka Voln

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www.nm.cz