You are on page 1of 8

Electric Music on the

Victorian Stage: The Forgotten


Work of J.B. Schalkenbach
abstract
Daniel Wilson

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-

80 Wilson, Electric Music on the Victorian Stage


ings, where he was now lodging. Here, music hall. He had insured it for 900, of Mr. Cooke levitating in the air, sur-
Schalkenbach added controls for bril- although he estimated its material value rounded by spirit flames, accompanied
liantly coloured lights with electrical to be 1000 [35]. Nevertheless, by No- by a triumphal march with remote
effects which would put ordinary pyro- vember he had rebuilt the instrument bells, tambourines, etc. [39].
technic displays altogether in the shade and was performing again (see Fig. 6).
[27,28], all whilst keeping up a complete Piano-Harmonic
instrumental concert [29]. Reports also Maskelyne and Cooke
tell of a striking acoustic effect, possibly When Schalkenbachs Egyptian Hall en-
associated with the Electro-Zither: dul- One of the most significant engage- gagement concluded in April 1877, he
cet strains of peace [30] emanating ments in Schalkenbachs career was with obtained a patent for another ground-
from different parts of the hall. the celebrated magicians Maskelyne and breaking acoustical innovation, the
Schalkenbach developed dynamically Cooke at the Egyptian Hall, beginning Piano Harmonic, which specified that
varied musical sketches to fully demon- late in December 1876 [36]. It is curious pedals could be added to pianos, en-
strate the capabilities of the instrument. to note that in Schalkenbachs afore- abling special damper heads to make
For instance, the man-o-war ship sketch mentioned advert he mentions musi- gentle contact with strings at their nodal
described a ship docked in port, the ar- cal boxes with electric arrangement for points to transpose any keyed notes into
rival of the Navy, the departure, an ap- releasing of flywheel, and some months their respective harmonics (he suggests
proaching storm, a mariners prayer, the prior to his engagement, in August 1876, the octave, the fifth, the double octave
ensuing relief at being out of danger, a Maskelyne and Cooke exhibited a Spirit and the third of the double octave) [40].
military parade on board, followed by Musical Box: a music box suspended As with his earlier patent, there are no
sighting of the enemy, the battle climax, from the ceiling, playing songs on com- electrical aspects. It is not known to what
victory and the finale [31]. Such scenes mand. There was also exhibited a Mys- extent this was adapted to the Orchestre
featured the bold tone combinations of tic and Oracular Tambourineplaced Militaire, but its existence demonstrates
the main instrument, along with drums, among the audience in the center of the how sophisticated Schalkenbachs ideas
bells and clappers electrically sounded, hallanswering questions by percus- were, and such an effect could easily mis-
trumpets sounding in at least two places sive rapping [37]. Both are suggestive of lead an unknowing audience into believ-
at once, the distant roar of artillery, the Schalkenbachs handiwork. ing an electrical agency was at work.
clashing of cymbals and the shrill note Maskelyne and Cooke would often fea-
of the ear-piercing fife [32]. The instru- ture musical-acoustic oddities on their
bill. Schalkenbach had taken over from The 1880s
ment also facilitated the firing of minia-
ture cannons from distant parts of the Thomas Manton who had previously Even more electrical additions were
hall. The music was said to be composed been engaged playing a musical glass in- added to the instrument in its music hall
by Schalkenbach himself [33], making it strument, the Crystalophonicon [38]. engagements in the 1880s. One press
some of the earliest original scored mate- As well as playing between illusions, release enthused that the Orchestre
rial for an electrical instrument. Schalkenbachs Orchestre Militaire also du Diable (as it had been temporarily
It is very interesting to note that, in accompanied illusions, including that restyled) quite surpasses the telephone
contrast to the occlusions of stage magic,
Schalkenbach openly offered to explain
Fig. 3. Schalkenbach performing before Emperor Louis Napoleon at the Chteau de Saint-
all about the inner workings of his instru- Cloud [71]. (Public domain)
ment in the summer of 1874. He issued
an advertisement in The Era:
In answer to many applications, Herr
Schalkenbach is now ready to supply,
or to give all necessary information for
the construction of the various Electro-
Musical Instruments and Appliances as
used in his Entertainments during the
last Fourteen Years, viz., Electric-String
Instruments, Trumpets, Chimes, Bells,
Cuckoo, Birds Song, Drums, Triangles,
Castenettes, Tambourines, Sledge Bells,
Slash of Whips, Bagpipes, &c. Instru-
ments in direct communication with the
keys of Piano, Harmonium, Organ; or,
if desired, Musical Boxes with Electric
Arrangement for Releasing of flywheel.
Imitation by Electricity of Thunder, Rain,
Roaring of Waves, Lightning, Marching
of Troops, Galloping of Horses, Locomo-
tive in Motion, Electric Cannon, Mitraile-
usse, Pistols, Rockets, Optical Music with
Vacuum Tubes, &c. &c.
Instruction given in the use of all the
above, be it for Solo Performance or in
conjunction with the Orchestre [34].

In May 1875, Schalkenbachs organ


was destroyed by a fire at a Liverpool

Wilson, Electric Music on the Victorian Stage 81


Fig. 4. John Henry Anderson demonstrating electromagnetic spirit rapping [72]. (Public domain)

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].

82 Wilson, Electric Music on the Victorian Stage


Evidently inspired by Schalkenbach, in whilst playing the electric keyboard, pro- various additions and improvements he
1884 they unveiled their Mephisto, un- ducing hundreds of effects never before is continually making to his instrument,
ashamedly billed as introduced on earth fixed around the is still giving exhibitions. . . . [54]

all new and original. ELECTRICAL


hall [53]. Juleenes bombastic praises for
DAlcorn werent merely superficial ad- The next Mephisto advert brazenly re-
MARVELLOUS MOTORS, MYSTIFY-
ING MORTALS, Manufactured by H. vertisements, but heartfelt encomiums, torted that electricity, that master of all
F. Juleene, who has travelled the world, as they were eventually married in June sciences, in the hands of JULEENE, has
and brought together all that Art could 1889. accomplished more than was expected
devise or Money command to make this from an Englishman. Ironically, Juleene,
what it has proved, the greatest novelty A rattled Schalkenbach responded
by arranging for a message to be placed who had adopted his foreign stage name
on the surface of the earth [50].
atop the next Mephisto advert published for exotic grandeur, was now compelled
To their credit, the act derived some on 20 September 1884: to boast of his nationality. He announced
originality from DAlcorns role as possi- that the instrument had cost 2,500 to
bly the first female professional electric HERR J.B. SCHALKENBACH . . . The build, and ends with a parting shot at
musician [51] performer. To put this sole inventor, patentee, and only per- Schalkenbach: there are a few dogs that
into perspective, electric musician was former on the Orchestre Militaire growl, but we do not fear them [55].
Electro-Moteur, frequently called The
a sensationalistic styling typically encom- Electric Organ, takes this opportunity
In another Mephisto advert Juleene
passing mere illumination, as seen with of informing the musical world in gen- writes:
the so-called electric musician Herr Tho- eral, and all whom it may concern, that
lena comic musician with an electric twenty-three years ago, and previous to Am not indebted to any foreign instruc-
his renowned performances before His tor. Every foreign importation is im-
light bulb affixed to his nose. Another in- proved upon in the hands of Old John
Majesty the late Emperor of France, he
stance is seen in the electrical musical invented and patented the above for Bull. I shall be pleased to give gratuitous
interludes of singer Harriet Laurie (a.k.a. England, France, Prussia, Bavaria, Italy, information and instruction to any one
The Electric Star), who was herself a Russia, North and South America, &c., wishing to learn the science of electricity,
that the patent rights have long since and not try to mislead them when com-
pioneer with her electrically lit outfits mencing operations [56].
lapsed, and, in consequence, any person
but did not perform electrically actuated is at liberty to imitate the same.
music. (Significantly, Laurie was also on Herr Schalkenbach, in the interest Above this advert appeared a stra-
the same bill with Schalkenbach, Juleene of science and art (even against his own tegically placed notice by a colleague
and DAlcorn in October 1883.) interest), has been, and is always ready,
to explain his system to those who are
of Schalkenbachsthe champion
The extraordinarily grandiose adverts skater and swordsman Thomas Henry
desirous of acquiring knowledge in this
Juleene unremittingly submitted to The direction, and offers them the same fa- Crowther:
Era were heedless of Schalkenbachs lifes cilities he extended to others who have
work. These adverts display high admira- asked permission to imitate some of his ELECTROMANIA. Managers would do
tion for DAlcorn: praised as the only effects, and to whom he has given every wisely to remember the old proverb, the
instruction. biggest balloon when exhausted of gas
lady electrician on the terrestrial orbit, Herr Schalkenbach, having kept pace goes into a very ordinary hamper, in
a brilliant vocalist, etc. [52]. DAlcorn with the progress of electrical and acous- reading advertisements of a certain elec-
wore full Mephistophelian costume tical science, and manifesting this in the trofanatic, who can learn no more in this

Fig. 5. Dot DAlcorn (in male garb) [73] and H.F. Juleene (right), postcard, circa 1870. (Public domain. Collection of the author.)

Wilson, Electric Music on the Victorian Stage 83


thunder, hail and rain storms, shipwreck
and light-house, wind and water mills
in motion, mocking birds and cuckoo,
Anvil Chorus, Musical Soup Kitchen,
an electric illuminated railway, the as-
cent of a balloon and electric shocks
everywhere (via seat electrification
la Schalkenbach) [63]. Juleene writes
that a week of setting up and two tons
of wire and machinery are necessary for
Mephistos production, with, reportedly,
23 electromagnets, seven electro-motors,
23 contact-breakers, and three intensity
coils (the larger permitting a naked
spark of ten inches) [64].
Juleene and DAlcorns Mephisto
achieved much success, as they toured
British provinces untrodden by
Schalkenbach. They also embarked on
overseas tours to the U.S.A. and to Aus-
traliacontinents where Schalkenbach
had not performed.
There was one unfortunate incident in
the U.S.A. when seats were electrified via
the Mephisto instrument. An unlucky old
soldier in one of these seats received a
shock during a concert in Chicago and
tried to sue both the proprietor and Ju-
leene. However, the U.S. tour was, on the
whole, successful, as they were offered
another engagement by Thomas Edison,
for the 1893 Chicago Exhibition [65].
Juleene and DAlcorn continued tour-
ing with Mephisto (mostly across Britain)
for the rest of their careerup until the
early 1900swith the electrical center-
Fig. 6. A detailed engraving showing the second incarnation of Schalkenbachs instrument, piece variously styled as an Orchestra
post-1875 (after the original was destroyed in a music hall fire) [74]. (Public domain.
Collection of the author.)
Electrique Infernal or Orchestre In-
fernale [66].
Schalkenbach also continued touring,
terrestrial orbit, but when acts, and not ties, a la Herr Schalkenbach. To be sold but failed in 1891 to obtain a new patent
words, speak, has a very base public imi- for under one-fourth of the original cost, relating to pianos [67]. By 1895, it was
tation. ELECTROMANIA. By permission including four octaves electric bells, gi- apparent his work was being superseded
and assistance of Herr Schalkenbach. ant microscope, arc and incandescent by Maskelyne and Cookes apparatus at
Electromania eclipsing nature herself. lamps, railways, church, windmill, scen-
Electromania is in its thirtieth month ery, fitting with vacuum tubes, lightning the Egyptian Hall (played by Francois
of preparation. Includes every phenom- tubes, magnets, several kinds of powerful Cramer); the wonderful combination
enon discovered, and several items never intensity coils giving 18 in. spark, batter- of instruments . . . is to Schalkenbachs
seen or imagined, and will be in readi- ies, tambourines, castanets, triangles, contrivance what the electric light is to
ness for Pantomime of 8485 [57]. bells, &c. In fact, only requires fixing up
to be a first-class show. Price to an im-
gas [68]. At the same time, descriptive
mediate purchaser seventy-five guineas. effects were falling out of favor as music
Crowther had actually been prepar-
T.H. CROWTHER [59,60]. grew more tonally complex [69]. Else-
ing an entertainment of his own called
where, sound reproduction technology
Electromaniaannounced in November
Meanwhile, Juleene and DAlcorn be- developed apace. The use of electricity
1883 [58] (whilst Mephisto was also in
gan stating that their act had been pat- onstage to create wonder was also mov-
preparation). Of a similar age, and in the
ented: PATENTED. Argument flattened ing away from the use of wires, toward
same orbits as Juleene, they were likely
into oblivion. Cant help it [61] (starting wirelessly activated apparatus using prim-
acquainted but evidently on less than
in September 1884). Apparently, no at- itive coherers [70].
friendly terms. Crowthers Electromania
tempt had been made to patent Mephisto
entertainment is not well documented,
[62]; this was a deception typical of music References and Notes
and he is seen in the For Sale column
hall hubris.
of The Era in May 1885, offering his own 1. P.A. Scholes, The Oxford Companion to Music (Ox-
Mephisto was said to produce from a ford, U.K.: Oxford Univ. Press, 1938) pp. 757758.
electrical apparatus shortly before his de-
single keyboard the effects of an organ,
parture on a world tour with his sword 2. H. Davies, The Sound World, Instruments and
harmonium, full orchestra, seven brass Music of Luigi Russolo, Resonance 2, No. 2 (London:
and skating act:
drums, castanets, bugles, silver tam- LMC, 1994).
An elaborate and comprehensive ELEC- bourines, thirty silver bells, triangles, 3. A. Smirnov, Sound in Z (London, U.K.: Sound and
TRIC EXHIBITION of working novel- torpedoes, Turkish cymbals, lightning, Music, 2013); M. Alarcn, Baku: Symphony of Sirens:

84 Wilson, Electric Music on the Victorian Stage


Sound Experiments in the Russian Avant-Garde (ReR 23. Era (4 June 1871). 51. Era (29 November 1884).
Megacorp [Broken Silence], 2008).
24. The Standard (9 May 1871). 52. Era (13 September 1884).
4. Das elektrische Orchester des Herrn Schalken-
bach, Zeitschrift fr Instrumentenbau 14 (18931894) 25. Era (14 May 1871). 53. Era (11 October 1884).
pp. 615. 54. Era (20 September 1884).
26. A. de la Rive, Des mouvements vibratoires que
5. Death of Herr Schalkenbach, Era (16 April dterminent dans les corps, et essentiellement dans 55. Era (4 October 1884).
1910). le fer, la transmission des courants lectriques et
leur action extrieure, Archives de llectricit 5, No. 56. Era [53].
6. Patent, J.B. Schalkenbach, Keyed Musical Instrument 17 (1845) pp. 200232.
GB 2676 (1861). 57. Era [53].
27. The subheading of this section quotes Era (27
7. See [6]. In 1925, years after Schalkenbachs death, April 1873). 58. Era (24 November 1883).
his lone son Nicholas Frank (or Franz) Schalken-
59. Era (2 May 1885).
bach emigrated to New York, where he patented a 28. Era (23 November 1873).
storm-simulating instrument, shedding some light 60. Another flagrant Schalkenbach copycat was the
on his fathers apparatus. See Patent, F. Schalken- 29. The Hornet (6 December 1873).
enigmatic Herr Renier (appearing in 1887pos-
bach, Storm Simulating Device, US 1734446 (1929). It sibly a purchaser of Crowthers apparatus) with his
30. The Morning Post (28 November 1873).
is intricately mechanical, featuring bellows with J.B. Grand Electric Orchestra Militaire. In 1890 he
Schalkenbachs hollow wind ball, accompanied by 31. Era (8 February 1874). found himself stranded in Australia following an
a controlled flow of buckshot rolling down channels unprofitable tour with a theater company.
of various textures. He died soon after filing the 32. The Morning Post (15 May 1871).
patent. 61. Era (25 October 1884).
33. The Morning Post [32].
8. Audition du piano-orchestre lectro-moteur, Le 62. Juleene did however patent a quack medicine
Monde Illustr (22 November 1862) pp. 332334. 34. Era (31 May 1874). in 1889 for treating gout or rheumatism, where
ingredients were subjected to an electric current for
9. Patent, A. Bain, Improvements in Musical Instruments, 35. Destruction of St. Jamess Hall, Liverpool, By six hours (allegedly to improve their efficacy): Pat-
GB 11886 (1847). Fire, The Manchester Evening News (3 May 1875). ent, H.F. Juleene, An Improved Liniment or Embrocation,
GB 10217 (1889).
10. J.H. Anderson, The Fashionable Science of Parlour 36. G.A. Jenness, Maskelyne and Cooke (Enfield, UK:
Magic (London: self-published, c. 1855). self-published, 1967). 63. Era (30 May 1885).
11. J.E. Robert-Houdin, The Secrets of Conjuring and 37. Maskelyne & Cooke, the Royal Illusionists and Anti- 64. Electrical World 9 (1887) (New York: McGraw-Hill)
Magic (London: George Routledge & Sons, 1878), Spiritualists (London: Egyptian Hall, c.1877). p. 182.
translated from J.E. Robert-Houdin, Les Secrets de
la Prestidigitation et de la Magie (Paris: Michel Lvy 38. Thomas Mantons Crystalophonicon (a.k.a. 65. Era (3 December 1892).
frres, 1868) Crystalopeon, or Ophonic Crystal) consisted
of 32 empty glass goblets, chromatically tuned and 66. Various Juleene compositions (see especially The
12. The Standard (30 June 1863) (London). played with the fingers. Mephisto Gavotte) are featured in early numbers of
The Musical Million (London: European Publishing
13. Newcastle Daily Journal (6 December 1864). 39. Era (25 February 1877). Company, 18871896).
14. Newcastle Daily Journal (26 December 1864). 40. Patent, J.B. Schalkenbach, Piano Harmonic GB 67. Patent (voided), J.B. Schalkenbach, Improvements
1326 (1877). in Pianos GB 12920 (1891).
15. See [14].
41. Era (7 April 1878). 68. Era (18 May 1895).
16. B. Weeden, The Education of the Eye (Cambridge,
U.K.: Granta, 2008). 42. Era (2 July 1881). 69. Realistic Music, The Spectator, Vol. 84, pp. 241
242 (London: F. C. Westley, 1900).
17. A former assistant to Charles Wheatstone. 43. The Standard (3 July 1883).
70. R. Phillips, Ray Controlled Mechanism (London:
18. See siren, piping bullfinch, organ pipe nodal vi- 44. Although an early imitation is seen with Pro- Percival Marshall & Co., 1933) pp. 7074.
sualizer, etc., in J.H. Pepper, Cyclopaedic Science Simpli- fessor Beaumont (The Royal Necromancer a.k.a.
fied (London: Frederick Warne, 1869) pp. 473526. John Beaumont) in the mid-1870s. 71. Le Monde Illustr [8].
19. This instrument was an organ played by a re- 45. Era (7 July 1883). 72. Anderson [10].
motely situated pianoforte electric switchboard.
46. Juleene and Schalkenbach briefly shared an 73. Sheet music, Well Stick to the Colours: Miss Dottie
20. J. Brooker, Paganinis Ghost: Musical Resources agent in the early 1870s. DAlcorns Great Song (London: Howard & Co., 1883).
of the Royal Polytechnic Institution, Realms of Light
(Ripon, U.K.: Magic Lantern Society, 2005) pp. 146 47. Era (26 January 1879). 74. Orquesta Elctrica, La Ilustracin Artstica (27
154; J.S. del Campo Olaso, La electricidad aplicada November 1893) 12, No. 622 (Barcelona: 1893)
al rgano y la aportacin de Aquilino Amezua, 48. E.D. DAlcorn, Henri DAlcorn (Oregon, U.S.A.:
Musiker 19 (Donostia: Eusko Ikaskuntza, 2012) pp. typescript, 1986).
15174. Manuscript received 2 January 2013.
49. Queens Palace of Varieties, Reynoldss Newspaper
21. A. Apps, The Great Lightning Inductorium (London: (7 October 1883). Also see advertisement in same Daniel Wilson is an award-winning electro-
Royal Polytechnic Institution, 1869). newspaper, 30 September without Juleene.
acoustic composer, instrument builder, broad-
22. Era (14 May 1871). 50. Era (6 September 1884). caster and writer based in Hertfordshire, U.K.

Wilson, Electric Music on the Victorian Stage 85


Call to Curators
Leonardo seeks art |science galleries for print and on-line

Call for Leonardo Galleries


The editors of Leonardo invite proposals for curated galleries for publication
in Leonardo journal and on the Leonardo On-Line web site. Galleries should
include an introduction by the gallery curator and showcase a number of art-
ists working within a common theme or milieu falling under the broad rubric
of art + science.
Full call for galleries: <http://leonardo.info/isast/announcements/leonardo-gallery-cfp_
Oct2011.html>
Author guidelines: <http://leonardo.info/isast/journal/editorial/edguides.html>
Submissions: <leonardomanuscripts@gmail.com>

( Michiko Tsuda)

You might also like