Catalogue of the Sir Nicholas Shackleton Collection

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Details of the Catalogue of the Collection

Addenda and Corrigenda

The following are corrections, comments and opinions contributed by the
Editor (AM), Robert Howe (RH), Melanie Piddocke (MAP), Albert Rice
(ARR), and Edwina Smith (ES). 

p.2 (5422): The Amlingue piccolo carries an early stamp:
"(fleur-de-lis)/AMLINGUE/A/PARIS"; the hallmark on the key can
be dated between 1809 and around 1819. This suggests that the maker was
probably Michel Amlingue (active 1778 to 1830) and the key may have been
replaced by his son François-Michel. [See Denis Watel,
"Michel et François Amlingue, facteurs d'instruments à Paris
de 1780 à 1830," Larigot 15 (1994), 16-21; Michael D.
Greenberg, "Musical Instruments in the Archives of the French
Court: The Argenterie, Menus Plaisirs et Affaires de la Chambre,
1733-1792," Journal of the American Musical Instrument
Society 32 (2006): 30-31.] - ARR 2008

p.5 (5437): the date of making of this piccolo is 1949-1980 (probably
c 1980). - RH 2009

p.8 (5404) Specific literature references: HAYNES, B., 2002, A History
of Performing Pitch: The Story of "A", Lanham, Maryland, and Oxford:
The Scarecrow Press, Inc., p.436. - ES 2008

p.32 (5398) Moeck chalumeau: the word soprano should be added. -
ARR 2008

p.32 (4942): The stamp of the high A clarinet could read "A.
Malinovsky/in/Warschau"; Malinovsky may have been a Polish maker or
dealer. Malinovsky is not listed as a 19th century Polish maker by
Marek Schiller in Klarinet - Klarnecisci w Polsce do Polowy
XIX Wieku, Gdansk: Wydawnictwo Akademia Muzyczna im.
Stanislawa Moniuszki w Gdansku, 1993, 90-93. - ARR 2008

p.68 (4731): This is a very early and finely made Kusder D clarinet with
an integral mouthpiece-barrel and integral stock-bell; the date should
be earlier, 1762-1780. - ARR 2008

p.73 (5034) This Stiegler clarinet includes an early version of the
B/F-sharp key mounted in wooden ferrules; later keys are mounted in
metal saddles. This key was introduced to German makers by the oboist
Simon Kern who had visited the Paris workshop of Guillaume
Trièbert and sold the knowledge of the key to the Munich makers
Max Stiegler and Wilhelm Hess in 1840.[3] Thus, this clarinet should be
dated 1840-1850. [See Andreas Masel, "Der Münchener
Holzblasinstrumentenmacher Benedikt Pentenrieder (1809-1849),"
Master's thesis, Ludwig-Maximilians-Universität, München,
1986, 82-95; 251-258.] - ARR 2008

p.78 (4724): add "Specific literature references: Young 1993,
No 14." - AM 2008

p.80 (5293): a matched pair with E-flat clarinet (5292) - AM 2008

p.81 (4939): The three short keys of the important Rottenburg clarinet
have the spring against the body (SATB). - ARR 2008

p.90 (4857): Specific literature references: Young 1993, No 15. -
AM 2008

p.91 (5111): The clarinet by M. Lewisch has large tone holes; keys with
flat key heads and a pointed end to the touches; and a large flat rim on
the bell. These characteristics suggest a date of about 1850. William
Waterhouse also suggests a date of mid 19th century for this maker in
The New Langwill Index: A Dictionary of Musical Wind-Instrument
Makers and Inventors, London: T. Bingham, 1993, 235. - ARR 2008

p.98 (4716): Shackleton reproduced an image of this Hale clarinet with a
second mouthpiece and separate barrel stamped "I HALE / LONDON /
O" in his New Grove Dictionary articles. He showed that
Hale offered both styles of mouthpieces (separated and not separated)
and was the first English maker to construct a separate mouthpiece and
barrel. [See particularly Nicholas Shackleton, "John Hale,"
FoMRHI Quarterly 48 (1987), 26.] - ARR 2008

p.110 (5050): The clarinet by Placht in Pest has the key
characteristics, large finger holes, and large bell rim indicating a
date of about 1840. - ARR 2008

p.114 (5547): This fascinating clarinet by Monzani uses screw-on discs
to make the leather pads airtight, illustrated in Monzani's 1812 English
patent (no. 3586). [See the patent illustration in Rice, The
Clarinet in the Classical Period, 47.] The other patented
improvements are a metal lined barrel of the upper section with an
integral barrel, the thumb hole is moved to the front of the instrument
by use of a key, two small wooden knobs glued to both sides of the ebony
mouthpiece for easy removal, and the use of cork on chamfered tenons.
Albert Rice refers to this clarinet in The Clarinet in the Classical
Period, 220, n.42. - ARR 2008

p.125 (5491): photograph on p.261. - AM 2008

p.139 (5008): The maker's stamp "p/BUFFET/A PARIS/p" on a
clarinet may indicate Jean-Louis Buffet before he took on the name of
Buffet-Crampon in 1844. - ARR 2008

p.141 (4911): The maker's stamp on the barrel and bell of this Simiot
clarinet is transcribed incorrectly and should be "INNOVEE / PAR /
SIMIOT / A LYON / SIb". - ARR 2008

p.146 (4936): The brass mouthpiece with the clarinet by Eugène
Albert of Brussels has a movable lay and integral ligature that appears
to be modeled directly on Guillaume Trièbert's similar brass
mouthpiece, patented in 1847. Guillaume Trièbert's metal
mouthpiece with a movable lay and screw ligature (Bec-pompe avec table
mobile et presse-anches) is illustrated as part of a French patent
(no. 6937) for a combination C clarinet (clarinette multiphonique) that
could be changed by means of metal slides and screws to a B-flat or an A
clarinet. [See the description and engraving in Eberhard
Jonák, Bericht über die Allgemeine Agricultur- und
Industrie-Ausstellung zu Paris im Jahre 1855, Vienna: Aus der
Kaiserlich-Königlichen Hof- und Staatsdruckerei, 1857-1858, 42;
F. Geoffrey Rendall, The Clarinet, 3rd ed., London: Benn, 1971, 155;
Oskar Kroll, The Clarinet, rev. ed., New York: Taplinger, 1968,
29-30, 38; Waterhouse, The New Langwill Index, 404; Günther
Dullat, Klarinetten, Frankfurt am Main: Bochinsky, 2001, 33,
127.] - ARR 2008

p.149 (5010): photograph on p.325. - AM 2008

p.153 (4815): add "Serial number: 3975". - AM 2008

p.159 (5488, 5007, 5489): This set of three C, B-flat, and A Conn
ebonite clarinets with brass barrels and bells seems to have been
assembled with the ebonite finger hole joints. This model of clarinet
does not appear in the Conn sales catalogs and other brass Conn
clarinets are constructed entirely of brass. - ARR 2008

p.166 (5236) delete "Mouthpiece missing". - AM 2008

p.176 (5184): date should be "Circa 1958". - AM 2008

p.181 (5073): The French patent for improving the throat B-flat was
taken out by André Thibouville on 18 December 1889 (no. 202683)
for one of the Thibouville firms. Pierre in 1890 illustrates a full
Boehm system Lefèvre clarinet with this mechanism exhibited in
the 1889 Exhibition. Shackleton's clarinet is a plain Boehm clarinet by
Lefèvre with Thibouville's mechanism. [See the
description of Thibouville's patent and engraving of a Lefèvre
clarinet with this patent mechanism in Constant Pierre, La Facture
Instrumentale à l'Exposition Universelle de 1889: Notes d'un
Musicien sur les Instruments à Souffle Humain Nouveaux &
Perfectionnés, Paris: Librairie de l'Art Indépendant,
1890, 72-74. Albert Rice thanks Robert Adelson for obtaining and
sending the patent.] - ARR 2008

pp.182-183 (2622): The odd looking Schaffner system clarinet differs
from another example in the Brussels collection (B-Bruxelles, M6343) in
having two speaker keys instead of one; unmarked rectangular plateau
keys (the Brussels example includes notes on a music staff for each
plateau head); and an additional round plateau key above key fourteen.
[See the description and photo in Le Roseau et la Musique,
[France]: ARCAM/ÉDISUD, 1988, 111.] - ARR 2008

p.187 (5167): The maker of this 3-key clarinet may be identified with a
mid-18th century maker who used the initials IP. There are two extant
3-key clarinets d'amour (D-Nürnberg, MI 131; D-Hamburg, 1926, 406)
stamped "IP" thought to be made in southern Germany or in the
region of the Alps. [See Frank Bär, Verzeichnis der
Europäischen Musikinstrumente im Germanischen Nationalmuseums
Nürnberg. Band 6, Liebesklarinetten, Bassetthörner,
Bassklarinetten, Metallklarinetten: Beschreibender Katalog,
Wilhelmshaven: F. Noetzel, 2006, 22-23; Hans Schröder,
Verzeichnis der Sammlung alter Musikinstrumente, 80, abb. 19;
for a larger photo, see Kroll, The Clarinet, fig. 16.] Both
clarinets d'amour have a similar looking mouthpiece-barrel section with
a concave profile to the outside of the mouthpiece, also found on a
3-key alto clarinet (D-München-DM, MU 292, c 1740) by Dotzell
[see Wackernagel, Holzblasinstrumente. Bayerisches
Nationalmuseum München, 264]. - ARR 2008

p.188 (5115): The mouthpiece-barrel section of this 5-key (originally
4-key) clarinet by Prudent differs in color from the finger hole
sections but is identical in color to the stock-bell section. The shape
and size of the window suggest an early mouthpiece and it appears
original or of the period. - ARR 2008

p.197 (5275): This early Viennese clarinet by Hammig of Vienna uses a
line over the last N in WIEN to indicate two Ns. Shackleton also
believed that early clarinets by Merklein of Vienna used two Ns for
WIENN in his stamp, as found on a clarinet in the Kunsthistorisches
Museum (A-Wien, SAM 326). [See Martin Harlow, "Two Early
Concertos for Iwan Müller's Thirteen-Keyed Clarinet,"
Galpin Society Journal 59 (2006), 31, 246, figs. 5-6.] - ARR 2008

p.212 (5132): The interesting 6-key clarinet by Hespe of Hannover
includes characteristics that suggest a date of 1785-1790, i.e., wide
ivory ferrules beveled and scored key heads for the register and A keys
and an early looking stock-bell. - ARR 2008

p.221 (4730): The Hale clarinet appears to have come with a stalk with
leaves, as shown in the photo, and may have been used for cleaning the
instrument by passing it through the instrument. - ARR 2008

p.284 (4831): This clarinet by Buffet jeune (Louis Auguste Buffet) is
marked "Bréveté" which very likely refers to
Buffet's 1838 French patent (no. 9380) which includes needle key
springs replacing the older flat key springs. [See Waterhouse,
The New Langwill Index, 50.] - ARR 2008

p.295 (4859): The stamp on the Vinatieri clarinet should be transcribed
as: "fleur-de-lis/VINATIERI/A TORINO/"/SIb". - ARR 2008

p.306 (5394): The place of manufacture of this fascinating anonymous
15-key clarinet should be Germany. - ARR 2008

p.308 (5117): This important Simiot boxwood clarinet shares many of the
characteristics of the Simiot ebony clarinet (115) from the Rendall
Collection. It includes a thumb plate and speaker key with a ring that
passes the key head around the front onto a raised chimney; a tuning
slide between the right hand joint and stock sections; and flexible
levers slide through loops on the key heads of the F-sharp/C-sharp and
E/B keys used when the tuning slide is pulled out. - ARR 2008

p.313 (5527): Additional photos of this unique Adolphe Sax clarinet are
placed on p.315 but are not identified. - ARR 2008

p.447 (4912): The close-up photo of the Kolbe clarinet is printed upside
down. - ARR 2008

p.448 (5151): the serial number should be "1898" (stamped
upside down). - AM 2008

p.463 (4677): the clarinet was made in 1929 by Couesnon using a
conflation of Charles and Frédéric Triéberts' names, to which Couesnon
owned the rights. - RH 2009

p.503 (4861): cased by Shackleton with B-flat clarinet (4861), shown in
picture on p.690, but of different provenance. - AM 2008

p.507 (5178): a pair with (5179). - AM 2008

p.529 (4868): The stamp on this Mahillon clarinet should be transcribed
as "C MAHILLON . . .". - ARR 2008

p.565 (4837): The Cuvillier B-flat clarinet with corps de rechange for
an A clarinet was stored in a two tier leather covered box. It is
unlikely that this box was originally meant for these clarinets; when
the Albert Rice saw it in 1998, it held a B-flat clarinet with A corps
de rechange by Theodore (4899). The upper tier of this box was meant to
hold a B-flat clarinet with corps for an A clarinet including two
mouthpieces and two barrels. The lower tier has sections for two
mouthpieces, barrel, the left and right hand sections, and a stock-bell
of an alto clarinet. [See Rice, The Clarinet in the Classical
Period, 32. This box was seen by Denis Watel before it was sold to
Shackleton.] - ARR 2008

p.593 (5070): The Garret A clarinet has twelve keys. - ARR 2008

p.610 (5378): The illegible stamp on a 13-key A clarinet with two bees
above and a star below very likely reads: "MARTIN FRES A
PARIS". - ARR 2008

p.611 (5503): A second slightly longer barrel and left hand section came
with the Adler A clarinet as mentioned by Fricke in the introduction (p.
ix) but not in the text of this description or the description of the
additional sections (p.747). - ARR 2008

p.624 (5365): spelling "D'ANGOULEME". - AM 2008

p.652 (4835): An A clarinet by Pfaff includes very unusual placement and
design of keys for the G-sharp and A keys, the placement of the key
heads for F-sharp/C-sharp and E/B on one rod, and the flat, wide design
of most of the touches. [This instrument is mentioned but misidentified
as a B-flat clarinet in Rice, The Clarinet in the Classical
Period, 233, n. 247. This reference was mistakenly paired to an
ordinary Pfaff B-flat clarinet in the catalogue, 304.] - ARR 2008

p.708 (4788) and (4992): "Lugano, Switzerland" - AM 2008

p.730 (4734): The stamp on this B-flat bass clarinet by Buffet jeune
includes the word Brèveté which very likely refers to the
1843 French patent (no. 16,036) for movable rings since there are two
rings for R1 and R2, and there are no known bass clarinet patents by
Louis Auguste Buffet. - ARR 2008

pp.760-761 (5538): The description includes "scratches" to
mean using a cord to bind a reed to a mouthpiece for these fourteen 19th
century reeds. Perhaps the word grooves indicates the appearance of the
outside of the reeds in a more accurate manner. Thirteen of these reeds
are mentioned by the Albert Rice in The Clarinet in the Classical
Period, 219, n. 35. - ARR 2008

p.748 (5567/13): (5567/14) see addendum for p.98 (4716) - ARR 2008

p.776 Adler: "p.12 (5448)" should be under "Adler
[Paris]". - AM 2008

p.776 Amlingue: (5116) is on p.205 - MAP 2008

p.783: the entry for Mercklein should come before the entries for
Merklein. - AM 2008

p.791 (4844): p.334. - AM 2008

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