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S
T his paper provides an
overview of electrical pre-loud-
speaker sound art in Victorian
ound art has antecedents in the acoustical After this was granted in the au- music halls, focusing on key
wonder-working of the ancients and in the metaphysically ori- tumn of the following year [6], figures, including one of the first
female performers of an electri-
ented secret teachings of the Pythagoreans. However, it was Schalkenbach arrived in England.
cal musical instrument. Control
with the refinement of mechanics and electromagnetism in The patent illustrates an amal- of acoustic incidents separate
the 19th century that sound art would mature as an art form. gamation of a reed harmonium, from the artiste and the employ-
Sound art did not exist as a standalone art form as we know it a second smaller accordion-like ment of artful presentation to
now; the aversion of the delicate Victorian ear to discords en- harmonium (known as a har- create an aesthetic edifice
prerequisites of sound artare
sured that clear distinctions were drawn between musical parts moniflute) linked to the main apparent in the entertainments
of a performance and descriptive parts. Descriptive elements harmonium bellows, a row of bells, examined here. It is shown that
encompassed the imitations, instrumental or otherwise, of tam-tams, triangles, drums, cymbals the issues of todays sound
real-world sounds within music. Percy Scholes wrote disparag- and whistle pipesall operated by art (in reconciling science with
art, the coveting of the active
ingly of this cruder kind of programme music, drawing at- keys or stops. The keys controlling
principle, etc.) were also a
tention to its short-lived popularity in uncultured circles [1]. the drum parts were connected concern in these early sound
It was, however, an anachronistic precursor to the 20th-century to beaters on springs, producing art ventures.
Futurist Intonarumori [2] and Russian abstract industrial sym- drum-rolls. Whilst playing the har-
phonies [3]. Certain artistes exerted considerable efforts in de- monium, the player would be able
signing mechanisms for producing such descriptive flourishes, to control the percussion controls
and the most pioneering was Johann Baptist Schalkenbach using the forearm or wrist. Additionally, any combination of
(18241910) (Fig. 1)an inventive acoustician who, in the harmonium keys could be temporarily locked down into po-
1860s, began employing electricity to remotely trigger descrip- sition to sustain their tones, allowing the player to perform
tive effects placed on a par with the music itself [4,5]. These elsewhere simultaneously (Fig. 3).
efforts occupied a Two large funnels were coupled onto the sound-holes of
no-mans land be- the harmonium, transforming the reed tones. The funnels,
tween science, art respectively, contained a tremolo valve within the throat, in-
and music that is terrupting the current of air flowing out, adding tremolo. This
today designated valve was basically a hinged clapper that would periodically
as sound art. shudder with the pressure of the harmoniums sound-filled
Schalkenbach exhaust.
was born in Trier, One curious soundmaking feature was a hollow ball placed
in what was then beside an air valve. Schalkenbach writes:
part of the Prussian
Rhineland, but When this valve is opened by means of a stop placed beside it,
the air enters the ball (which turns freely on its axis) through a
would spend most hole, and by this means, according to the position of the ball,
of his adult life in sounds are produced which are sometimes like the whistle of a
Britain. He stud- locomotive, sometimes like the raging of a storm [7].
ied music under
Le Monde Illustr reported that the Piano-Orchestre lectro-
Moritz Hauptmann
Moteur featured electromagnetic elements activated by nine
at the Leipzig Con-
buttons [8], yet the patent did not detail these electrical at-
servatory before
tributes (most likely employing solenoid-like mechanisms).
traveling to France,
The absence of electric elements in the patent was possibly
and in 1861 he
due to their constituting an infringement of an existing patent.
filed a patent for
An electrical method of remotely playing keyed instruments
Fig. 1. Schalkenbach in later life: music hall an instrument he
had been previously patented by Alexander Bain in 1847 [9],
postcard, circa 1900s. (Public domain. called the Piano-
and designs for electric doorbells were also starting to appear.
Collection of the author). Orchestre (Fig. 2).
The magician John Henry Anderson had used the same princi-
ple to create spirit rappings in the 1850s [10] (Fig. 4). Another
magician, Robert-Houdin, also employed electromagnetism,
notably in an extravagant doorbell and door-entry system at
Daniel Wilson (engineer, writer, researcher), 11 Thornbera Gardens, Bishops Stortford,
Hertfordshire, CM23 3NP, U.K. E-mail: <ashfordaisyak@googlemail.com>. his house [11].
See <www.mitpressjournals.org/toc/leon/lmj23> for supplemental files associated with
In June 1863, at one of Schalkenbachs earliest perfor-
this issue. mances in Britain, the Grand Piano Orchestre was said to
2013 ISAST LEONARDO MUSIC JOURNAL, Vol. 23, pp. 7985, 2013 79
After the Polytechnic
By May 1871 Schalkenbach returned to
concentrate once again on developing
what he now called his Orchestre Mili-
taire Electro-Moteur. A long engage-
ment saw the instrument supporting a
minstrel troupe, during which time he
integrated one of the spectacles seen at
the Royal Polytechnic: the influence of
the Great Lightning Inductorium (ca-
pable of producing a spark of 27 inches
[21]) is apparent in Schalkenbachs ex-
ploitation of lightning effects.
Due to the complexity of the setup
and Schalkenbachs energetic perfor-
mances (he was said to appear as if he
had twenty arms and as many legs, all
performing at once [22]), some review-
ers had difficulty discerning between the
effects electrically produced and those
mechanically producedan ambiguity
Schalkenbach no doubt played upon.
One of Schalkenbachs sketches
formed a descriptive musical fantasia:
Fig. 2. The Piano- an Alpine village fete interrupted by a
Orchestre, edited from the thunderstorm, with accompaniments
U.K. patent by the author of howling wind, pattering rain, and
( Daniel Wilson).
flashing lightning. The lightning is re-
ported to have been the genuine article,
without the slightest adulteration, Herr
have combined 26 instruments, upon variations of the famous talking head of Schalkenbach having in his new musical
which he played selections from popu- Albertus Magnus, Charles Wheatstones machine an unlimited stock of the com-
lar operas [12]. In late 1864, it was re- acoustic telephonic concert, and radi- modity on hand [23].
ported that Schalkenbach was using 16 cal musical instruments. Another novel instrumental addition
elements of zinc and carbon inserted Schalkenbachs setup was installed at this time was the Electro-Zither, said
into mercury bisulphate (this battery in the Polytechnics Great Hall and to be particularly effective during softer
required cleaning and replenishing performed upon daily. This hall also passages, from which long and sustained
every 6 months). The battery poles contained an automaton called The notes were obtained by electric agency
were connected to electromagnets and Automatic Leotarda life-size mechani- [24]. A review noted how a very singu-
brought into action by controls on the cal trapeze artistedesigned by Francis lar effect is produced by the continua-
main instrument [13]. Descriptive, mili- Seraphicus Pichler [17], a colleague of tion of sound which is kept up by the
taristic pieces were played, featuring Schalkenbachs (and later his spouses agency of electricity upon the strings of
remotely discharged pistols and many brother-in-law). Pichler was a Hungar- the instrument [25]. This feature was
other startling effects. It was said that ian harmonium-maker who provided ex- alluded to in other reports as the Aeo-
the instrument had a capacity beyond perimental acoustical apparatus for John lian Harp, but it is uncertain how the
all existing instruments in effectively Henry Peppers projects [18]. Schalken- effect was achieved. It would be futile
rendering destructive pieces [14] and bach would often meet with Pichler at his to speculate, but electromagnetically
also that a remotely played drum, sus- instrument shop at 162 Great Portland resonating a metal pianoforte string
pended from the ceiling, was suggestive Street. In the creative and inspiring en- had been achieved in the 1840s by Au-
of the Davenport Brothers spiritualist vironment of the Royal Polytechnic, and guste de la Rive [26]. It involved feeding
sances [15]. with the close acquaintance of Pichler, a coil, in close proximity to the string,
In December 1866 Schalkenbach ap- Schalkenbach was enabled to refine his with a pulse-train of current at an arbi-
peared with his Piano Orchestra with setup further. trary frequency. (If a similar system was
Electric Motion as part of the Royal Poly- Jeremy Brooker, in his study of the role employed, Schalkenbachs electric instru-
technic Institutions Christmas season. of music at the Polytechnic, tentatively ment would approach nearer the defini-
He became unofficial resident organist suggests that the musical possibilities of tion of an electronic instrument).
here for about 4 years. Although the Schalkenbachs instrument might have
Polytechnic was renowned principally influenced the institutions decision to
for its visual exhibitions [16], there were purchase an in-house electric-action or-
Magnetic Music of the
also many acoustical exhibits, including gan in 1868, manufactured by Bryceson Spiritual World
whispering galleries, advanced noises- [19], that Schalkenbach would also play In November 1873, Schalkenbach began
off sound effects accompanying magic upon [20]. Indeed, Schalkenbachs elec- a residency at the Lyric Hall on Great
lantern projections, lectures on Acous- tro-musical ideas frequently caught on, Portland Street, close to both the Royal
tic Illusions and musics of the world, as we shall see below. Polytechnic and Francis Pichlers dwell-
in its astonishing powers [41]. By 1881, for sparks are flying round his head and
Schalkenbach was experimenting with Mephisto (or, Stealing appear to be scattered from the ends of
the feature of rigging bare wires on cer- Schalkenbachs Thunder) his fingers, while his very eyes seem to
tain seats in the audience, allowing him The 1880s saw many imitations of emit lightning [45].
to shock unsuspecting members of the Schalkenbachs work [44]. It was com- H.F. Juleene began his stage career
audience at key moments [42]. mon for music hall acts to pirate other in the mid-1860s as a skater, later adopt-
A review from July 1883 illustrates how actscopycats were called duffers. ing musical and character skits [46]. His
sprawling the Orchestre Militaire had One such copycat instrument sprang up adverts give a flavor of his repertoire:
become: at Schalkenbachs old stomping ground, performing as German, Dutch, Swiss,
the Egyptian Hall. This instrument was Italian, Chinese, Japanese, Portuguese,
Round the theatre . . . connected by wires Spaniard, Skating Market Girl, Man-
styled as the electric and automatic
with the instrument, are subsidiary musi-
cal instruments, such as three German Orchestraphone, but later renamed doline Soloist, and forty others [47].
zithers fixed on one sounding board, Maskelynes Automatic Orchestra, Juleenes real name was John Parsons (c.
peals of bells, a number of trumpets, a without allusions to electricity (which 18421905); he was the son of a Warwick-
small electric railway train carrying on would somewhat give the game away shire drysalter.
the engine an incandescent lamp, a
windmill, a church, a catacomb, and the in a stage-magic setting). All the key ele- Around May 1880, Juleene unveiled his
warlike implements. . . . Not only a series ments of Schalkenbachs act were pres- new entertainment, The Musician, Poet,
of martial airs were performed, with the ent, but it is possible that this derivation and Painter, and Enchanted Studio, fea-
accompaniment of the detached zithers, had Schalkenbachs blessing, given his turing many songs and impersonations.
bells, trumpets, drums and gongs, but He toured the music halls with this show
previous involvement with Maskelyne
guns were discharged, the mitrailleuse
growled out its murderous vollies, a thun- and Cooke. for [a?] yearreceiving lukewarm re-
derstorm was simulated with torrents of By far the most interesting perform- viewsbefore the actress and pianist
rain and rushes of wind, the church was ers to have appropriated Schalkenbachs Dot DAlcorn was taken on as a notable
struck by lightning, the catacomb thrown work suddenly appeared in Birmingham co-performer. By the summer of 1882,
upon, disclosing a cross illuminated by
an electric lamp, with a choir of angels in September 1884. It was presented un- Juleene and DAlcorn were regularly
chanting around it; and, finally, the der the name Mephisto by two younger billed together. DAlcorns real name
passing away of the storm clouds, giving variety hall serio-comics, H.F. Juleene was Susette DAlcorn (c. 18591903), a
glimpses of the moon and a triumphal and Dot DAlcorn (Fig. 5), who had no daughter of the music publisher Henri
illumination of the Orchestre Militaire. DAlcorn (who had likewise altered his
previous recorded dabblings in electric-
The same review also gives a rare ity. Appropriately enough, both were name from George Henry Stannard All-
overview of its electrical arrangements, skilled at impersonation. corn; he was noted as an expert in copy-
involving insulated wires, a bichromate The Mephisto title may originate from right law [48]).
battery of twenty-six cells, four Geyselers a description of Schalkenbach himself: In early October 1883, Juleene and
[Geissler] Vacuum tubes, with Rhumkorf In July 1883, one enthusiastic reporter DAlcorn were featured together in
coils, and a multiplicity of ingenious ap- had written, [Schalkenbach] might be the same theater company as Schalken-
pliances for their application [43]. taken for an electrical Mephistopheles, bacha significant convergence [49].
Fig. 5. Dot DAlcorn (in male garb) [73] and H.F. Juleene (right), postcard, circa 1870. (Public domain. Collection of the author.)
( Michiko Tsuda)