A Unique Source F

A UNIQUE SOURCE FOR MUSICAL INSTRUMENTS: the Library and the Museum of Musical
Instruments at the SIM, Berlin

Author(s): Susanne Staral
Source: Fontes Artis Musicae, Vol. 50, No. 2/4 (April-December 2003), pp. 140-156
Published by: International Association of Music Libraries, Archives, and Documentation
Centres (IAML)
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A UNIQUE SOURCE FOR
MUSICAL INSTRUMENTS:
the Library and the Museum of Musical I
at the SIM, Berlin
Susanne Staral (Berlin)i
The SIM (Staatliches Institut für Musikforschung)

The SIM is part of the Berlin-based Stiftung Preußischer Kulturbesitz
[Prussian Cultural Heritage Foundation], the largest and most eminent cul
tural institution in Germany.1 The Stiftung Preußischer Kulturbesitz comprises
seventeen museums, the Staatsbibliothek [State Library], the Geheimes
Staatsarchiv and various research institutions in four different locations. One
of these, the Kulturforum, with buildings chiefly from the 1960s and 1970s, is
close to Berlin's busy Potsdamer Platz. It is in the Kulturforum that the SIM
[State Institute for Music Research] is located, in a long and narrow building
with an unusual roof near the Berlin "Philharmonie". The design of this house
was based on a draft by the celebrated Berlin architect Hans Scharoun (1893
1972), who died several years before the foundation stone was laid on 8 June
1979. His colleague and partner Edgar Wisniewkis was responsible for realis
ing the draft, and he completed the construction according to Scharoun's in
tentions. The inauguration of the new building took place on 14 December
1984.2 The SIM, founded in 1935, consists of research departments, a library
and archive, and the museum of musical instruments.
The SIM's library

The library, whose collections lay special emphasis on music theory and
organology, now has more than 67,500 volumes.3 These are listed in four dif
ferent card catalogues, for not only do we have an author/title catalogue, a
classified (subject) catalogue and an alphabetical subject catalogue, but also an
* Susanne Staral works as a musicologist at the SIM. She has been Chairperson of IAML's
Bibliography Commission since 1999, and from 1996 to 2004 was a member of the Commission
Internationale Mixte of RILM. This essay is a revised version of a paper presented at IAML's in
ternational conference in Berkeley, California, in August 2002.
1. For information on the Stiftung Preußischer Kulturbesitz see Klaus-Dieter Lehmann, ed.,
Cultural Treasures of the World in the Collections of the Prussian Cultural Heritage Foundation
(Berlin: Stiftung Preußischer Kulturbesitz/Nicolaische Verlagsbuchhandlung, 2001).
2. See Wege zur Musik, published on the occasion of the opening of the new building (Berlin:
Staatliches Institut für Musikforschung Preußischer Kulturbesitz, 1984), for further information.
3. 67,574 volumes in 2002.
140
A UNIQUE SOURCE FOR MUSICAL INSTRUMENTS 141
FIGURE 1 Aerial view of the Staatliches Institut

the Museum of Musical Instruments. The Berlin "Philharmonie" is behind it.
1
m
/K
■ Ik.
^ -
S31Hl k**
FIGURE 2 View of the Institute: to the left is the library, to the far right the
Museum of Musical Instruments. In the background is the "Philharmonie".
142 FONTES ARTIS MUSICAE 50/2-4
alphabetical subject catalogue of articles. The item cata

rules of "Preußische Instruktionen" [PI], This code, firs
used in most of the research libraries in Germany until th
"RAK" ("Regeln für die alphabetische Katalogisierun
loguing Rules]) came into effect in 1977. "RAK" is the co
by libraries in Germany, although it is still important t
dealing with older catalogues and bibliographies.4 The SI
electronic catalogue in the near future. Like the Staatsbibli
with PICA, and a commission representing several instit
Preußischer Kulturbesitz is working on the details. Ou
1948, has some very precious books and journals, includ
of Athanasius Kircher's Musurgia universalis (Rome, 1
lung's Anleitung zu der musikalischen Gelahrtheit (Erfu
rare journals, such as all fifty volumes of the Allgemeine m
and the complete Cäcilia, in twenty-five volumes.6 The
been formed by the holdings of the predecessor of to
Fürstliches Institut für Musikwissenschaftliche Forsch
founded in 1917. Most of the books, journals7 and musi
The library, now headed by Carsten Schmidt, is used by
journalists, as well as by restorers and makers of music
items available exclusively in our library in Berlin are m
bel, and can only be used in the reading room. Custom
vice, since there are twenty-seven music libraries in Be
specialist literature on music theory and on the study o
are among the richest in Europe, and we attempt to buy
dealing with the study of musical instruments. Thus th
able number of organological journals, some of them in
premises or for inter-library loan.
The instrument museum's archive is also open to the
tensive card indexes on instrument-making, detailed res
unique collection of photographs documenting instrume
and elsewhere.
4. There are two "flavours" of the RAK code: RAK-WB (for research libraries) and RAK-OB
(for public libraries).
5. Allgemeine musikalische Zeitung, edited by Friedrich Rochlitz [and others] (Leipzig: Breit
kopf & Härtel 1798-1849). In fifty volumes plus indexes. Continued as the Allgemeine musikali
sche Zeitung, Neue Folge 1 (1863)-3 (1865), and as the Leipziger allgemeine musikalische Zeitung
(1866-82).
6. Cäcilia, eine Zeitschriftßr die musikalische Welt. Vols 1-25 (Mainz [etc.]: Schott, 1824-46).
7. The SIM library had 173 current journals in 2002.
8. A total of 10,120 items of sheet music was in stock in 2002.
9. See Marion Sommerfeld, comp., Handbuch der Musikbibliotheken in Deutschland. Öffent
liche und wissenschaftliche Musikbibliotheken sowie Spezialsammlungen mit musikbibliothekarischen
Beständen (Berlin: Deutsches Bibliotheksinstitut/IVMB Gruppe Bundesrepublik Deutschland,
1994), p. 26-69 (entries 20-46).
FIGURE 3 The SIM Library
FIGURE 4 The Royal Academy of Music in Berlin, Stei
The Musikinstrumenten-Museum [Museum of Musical Instruments]
The Museum of Musical Instruments is one of the oldest of its kind, going
back to the Sammlung alter Musikinstrumente zu Berlin an der Königlichen
akademischen Hochschule für Musik [Collection of Ancient Musical
Instruments at Berlin's Royal Academy of Music], founded in 1888. The core
of this collection was 240 items from the Museum alterthümlicher Musik
instrumente of the publisher and collector Paul de Wit in Leipzig, bought upon
the initiative of Philipp Spitta and Joseph Joachim, and thirty-four instruments
from the former Brandenburg-Preußische Kunstkammer. The museum grew
very quickly through the purchase of Paul de Wit's important private collec
tion (282 instruments) in 1890, and of thirty-five wind instruments from St
Wenzel, Naumburg in 1891. In addition to purchases, the collection was in
valuably enlarged through gifts and bequests. A useful survey of the holdings
was provided by Oskar Fleischer, the first director (from 1892 to 1919), in his
Führer durch die Sammlung alter Musik-Instrumente.1" The opening of the mu
seum took place on 14 February 1893. In 1902, following protracted negotia
tions and thanks to financial assistance from the Prussian royal family, a fur
ther 1,145 items from the estate of the lawyer César Snoeck were acquired.
Oskar Fleischer's successor in the difficult years of economic crisis and in
creasing political tension was Curt Sachs, who ran the museum between 1919
and 1933 when he was forced to emigrate. During his time in Berlin Curt Sachs
established the study of musical instruments as a specialist branch of musi
cology all over the world. Furthermore, in 1922 he published the still exem
plary catalogue of the Sammlung alter Musikinstrumente bei der Staatlichen
Hochschuleßr Musik zu Berlin." Sachs was succeeded by Georg Schünemann,
whose performance-practice studies deserve a mention here. In concerts that
Schünemann called "Musikstunden" [Music Lessons], performances were
given on instruments from the collection to enable a wider audience to appre
ciate the sound of historical instruments. The collection remained part of
the Academy of Music until 1935, when it was integrated into the Staatliches
Institut für deutsche Musikforschung [State Institute for German Music
Research], As part of this institute the Museum of Musical Instruments, now
headed by Alfons Kreichgauer, re-opened on 18 December 1936. Albrecht
Ganse and Hans-Heinz Dräger then ran the museum for a short period. At the
beginning of the Second World War the museum had approximately 4,000 in
struments. Four years later, in 1943, the evacuation of the precious collection
began, though a large part remained in Berlin. Only some 700 instruments
from the original collection survived the war, many of them in a very bad con
dition. The acquisitions book was also destroyed. The first purchase after the
war, a clavichord bought in 1948, received the number 4,001. This was a sym
bolic number to mark a new beginning after the war. Alfred Berner began to
rebuild the museum and its library as early as 1945, and helped restore the col
10. Oskar Fleischer, Königliche Hochschule ßr Musik zu Berlin. Führer durch die Sammlung
alter Musik-Instrumente (Berlin: Haack, 1892).
11. Curt Sachs, Sammlung alter Musikinstrumente bei der Staatlichen Hochschule ßr Musik zu
Berlin. Beschreibender Katalog (Berlin: Bard, 1922).
FIGURE 5 The Exhibition Hall in the Collection of Ancient Musical Instruments at

the Royal Academy of Music, Berlin, Steinplatz, ca 1912
lection's former international reputation. At the same time he revived the

Institut für Musikforschung, which joined the Stiftung Preußischer Kultur
besitz in 1962. The Museum of Musical Instruments was housed from 1951 on
wards in the west wing of Schloss Charlottenburg, and moved to a new home
in the Bundesallee (Wilmersdorf) in 1962. In 1984, under the directorship of
Dagmar Droysen-Reber, the museum was at last able to move into its own
building. It finally united under one roof those parts that had for a long time
been physically separated: the SIM with its library and archives, and the
Musikinstrumenten-Museum with its restoration workshops. Here musicolo
gists, instrument specialists (organologists), restorers and acoustic engineers
can work on long-term projects on a single site. The close collaboration be
tween organologists and restorers, and the ability to refer to similar objects kept
in storage by the museum, permits the best possible research into musical in
struments. A number of reproduction instruments, as for example the "Bach
Harpsichord",12 the harpsichord of Andreas Ruckers the Elder, the arpeggione
attributed to Anton Mitteis (see Figure 19, background) and the clarinet of
Jacob Denner, have come from the museum's restoration workshops, and
were made at the same time as the originals were restored. Some 800 of
the museum's 2,50013 pieces from the sixteenth to the twentieth centuries are
12. See Das Berliner "Bach-Cembalo". Ein Mythos und seine Folgen, published in conjunction
with the opening of a permanent exhibition on 14 December 1995 (Berlin: Staatliches Institut für
Musikforschung Preußischer Kulturbesitz, 1995) and CD "Klingendes Museum", SIMPK M 2:
Das "Bach-Cembalo" im Nachbau. Performed by Christine Schornsheim (cembalo), issued in
Berlin, 1998.
13. 2,503 instruments as of June 2003.
FIGURE 6 Nineteenth-century Wind Instruments in th

Instruments, Berlin, Bundesallee 1-12
rr
FIGURE 7 View of the new Museum of Musical Instruments
displayed in the exhibition hall, and many of them

stations". The museum tries to combine its resea
cal practice with successful events such as the con
[Early Music live], the annual "Jazz-Treff" [Jazz
der Museen" [Long Night of the Museums], the "
and cinema organ concerts, and concerts given by
acquire stage experience.
Some Highlights of the Museum of Musical I

There are many remarkable instruments in the
present some of the highlights.15 The museum po
lection of rare late-Renaissance woodwind instrumen
of St Wenzel in Naumburg. These instruments we
town waits: Tenor Recorder (Kat.-Nr. 659),16 Ten
Shawm (Kat.-Nr. 646), Schreyerpfeife (Kat.-Nr. 666
Bass crumhorn (Kat.-Nr. 668). Copies of the Naum
culating all over the world. The sound of these ol
from the first half of the seventeenth century ca
at the museum.17
14. See Irmgard Otto in collaboration with Olga Adelmann,

Staatliches Institutßr Musikforschung Preußischer Kulturbesitz,
(Berlin: Staatliches Institut für Musikforschung Preußischer
berg and Wolfgang Rauch, Katalog der Blechblasinstrumente-Po
Institut ßr Musikforschung Preußischer Kulturbesitz, Musikinst
Staatliches Institut für Musikforschung Preußischer Kulturbe
Museum des Staatlichen Instituts ßr Musikforschung: eine Ein
für Musikforschung Preußischer Kulturbesitz, 1978); Ges
Tasteninstrumente des Museums. Kielklaviere-Clavichorde-Ha
Institut für Musikforschung Preußischer Kulturbesitz, 1981); M
published in the series "Museum" in collaboration with West
Verlag, 1986); French edition published as Musée des instrument
version published as Museum of Musical Instruments Berlin,
Musikinstrumenten-Museum, 1888-1988 (Berlin: Staatliche
Preußischer Kulturbesitz, 1988); Kielklaviere. Cembali-Spinette-V
Staatliches Institut für Musikforschung Preußischer Kulturb
Musikinstrumenten-Museums. Catalogue of the collection by D
of the instruments by Dagmar Droysen-Reber and Beat Wolf
Mertin and Rainer M. Thurau (Berlin: Staatliches Institut für M
besitz, 1999); and Faszination Klavier. 300 Jahre Pianoforteba
Restle for the Staatliches Institut für Musikforschung Pr
Fachverband Deutsche Klavierindustrie in conjunction
Musikinstrumenten-Museum Berlin, 24 March-30 Decemb
York; Prestel Verlag, 2000).
15. Many instruments were shown on slides during the presen
Only a selection is reproduced here.
16. The numbers that follow are the numbers assigned in th
17. CD "Klingendes Museum": SIMPK M 4, Die Blasinstrumen
Naumburg. Works by Girolamo Frescobaldi, Thomas Morley,
Berlin, 1999.
FIGURE 8 The Interior of the Museum, West Wing. In the

Harpsichord by Johann Christoph Fleischer, Hamburg, 1710
FIGURE 9 The Exhibition Hall, seen from the South End, w

Organ. In the background, Harpsichords of the Nineteenth a
A group of shawms, also from Naumburg (Kat.-

and 647), has appeared in many encyclopaedias,18
of all sizes of this instrument. The rare great bas
length of nearly nine feet (2712 mm), and was previ
of St Mary in Danzig (as also was Kat.-Nr. 290).
Many woodwind instruments from the late Bar
of the seventeenth or the beginning of the eighte
fundamental change in terms of timbrai preferen
flute gradually superseded the recorder, and the s
oboe.19 The versatile Johann Joachim Quantz (1697
teaching flute to the Prussian King Frederick the
his evening chamber music concerts; and he also w
for the king, whose reign lasted from 1740 until
capable composer and a very good flute player.20
transverse flute (Kat.-Nr. 5076, second half of th
Joachim Quantz, plus a manuscript fingering chart f
da gamba (Kat.-Nr. 168) by Barak Norman (Londo
particularly intricate inlaid work: the central ornam
the intertwined initials of the maker himself. Th
also are richly decorated. This instrument has bel
its foundation, as it was bought from Paul de Wit
Andreas Jaiss21 (Kat.-Nr. 1410), Tölz, 1730, was r
again in 1915. But as happens quite often it was
strument and to put it back in its original condit
striking lion's head at the end of the pegbox (se
Andreas Jaiss. The museum is also the proud own
lection of bowed instruments of the Alemannisch
These violins of non-Italian tradition were made in the southern Black Forest
and in Switzerland at the end of the seventeenth century. Figure 14 shows a
treble violin (Kat.-Nr. 4519, attributed to Joseph Meyer), a tenor violin (Kat.-Nr.
4880, probably by Frantz Straub) and a small bass violin (Kat.-Nr. 4713, proba
bly by Hans Krouchdaler). The term "Alemannische Schule" was introduced
by Alfred Berner, director of the Berlin collection from 1966 to 1975. The pio
neering work in this field was done by Olga Adelmann, the first professional fe
male violin maker in the world and former chief restorer at the Berlin museum
of musical instruments. Olga Adelmann published her findings for the first
18. All eight instruments are shown in Die Musik in Geschichte und Gegenwart, first edition,
vol. 10 (1962), Tafel 85 (following column 1440); and in Die Musik in Geschichte und Gegenwart,
second edition, Sachteil 2 (1995), Abbildung 2 in column 1355.
19. On the slides were shown an oboe (Kat.-Nr. 2933, Dupuis, Paris), a clarinet (Kat.-Nr. 223,
Jacob Denner, Nuremberg), two transverse flutes (Kat.-Nr. 2667, Pierre Naust, Paris; Kat.-Nr.
2670, Jean Hotteterre, Paris) and an octave flute (Kat.-Nr. 2654, Jean-Hyacinth-Joseph
Rottenburgh, Brussels).
20. See Die Magie der Flöte. Die Traversflöte und die Musik am Hofe Friedrichs II, published
in conjunction with the exhibition for the 200th anniversary of the death of Frederick the
Great, 29 June-31 October 1986 (Berlin: Staatliches Institut für Musikforschung Preußischer
Kulturbesitz, 1986).
21. The name occurs in different spellings.
FIGURE 10 Transverse Flute by Johann Joachim Quantz, B

ond half of the Eighteenth Century
/*" / '*
«. •*" i 5
# * * * * 1# * * * • * ■::. ■ f * 0 0
# # * 0 0 0 0 0 0 0 * 99**09 * 9 ♦
* * * # * # » * * ..***, » #
# * ♦ # # « #*#.<•»* ;: # #
* * ♦ * ■■■ * * 9
0 * * ' * •«# 0
:
A _
* * * ■ »* • » • # %
* * * » * # # • * - • # «
* # , « # , * » 0 ' 0 9 •
####>* *49 " * * *
*.'00 *■*•* * *
* ■ * ■« * » ' # « *
rg; -
0 *090 * #*•»*♦ * # * *
*0*00 0 i a#### a * * i ' * 09 * *
f a> m * 0 0 i #' 9 * 0 0 0 0 * 0 * r 0 0 0
9 * * * * 0 0 0 0 9 0 9 * 9
* - ■■ * » * . * 9 - s? 9 9* *
« * # « * 3 * 0 9 9- • » - , 0 s, g r
• * * •• * * 9-4 0 0 0 m * *
, k | fiy W" *■■***

— J ••<?¥" "k!i.m-n
FIGURE 11 Manuscript Fingering Chart for Transverse Flute, most prob

made by Quanta, with the Personal Signature of Frederick the Great and d
FIGURE 12 Lion's Head of the Double Bass Kat.-Nr. 1410
J?* i(t #
_fI
iH ' "TSvi/** r* ft
rtuxctez tn (SHlf.jfr&J y&
rnw
FIGURE 13 Label "Andreas Jaiß Lautten/macher in Töltz. A[nn]o: 1730".
time in 1990.22 Since Olga Adelmann's death in 2000, Annette Otterstedt has
continued the research. Some instruments of the Alemannic School can be
heard on a CD from the museum.23
One of the oldest instruments in the museum is a spinet, made in Italy ca
1570 (Kat.-Nr. 5402). The case is original. This instrument was formerly in
22. See Olga Adelmann, Die Alemannische Schule. Archaischer Geigenbau des 17. Jahrhunderts
im südlichen Schwarzwald und in der Schweiz (Berlin: Staatliches Institut für Musikforschung
Preußischer Kulturbesitz, 1990); and Olga Adelmann und Annette Otterstedt, Die Alemannische
Schule. Geigenbau des 17. Jahrhunderts im südlichen Schwarzwald und in der Schweiz (Berlin.'
Staatliches Institut für Musikforschung Preußischer Kulturbesitz, 1997).
23. CD "Klingendes Museum": SIMPKM 1, Die Alemannische Schule. Works by Georg Muffat
and John Jenkins. Issued in Berlin, 1997.
FIGURE 14 Bowed Instruments of the Alemannic School
FIGURE 15 Harpsichord by Andreas Ruckers the Elder, Antwerp, 1618
FIGURE 16 Workshop Photograph by Horst Rase
FIGURE 17 Clavecin brisé/Folding Harpsichord b
FIGURE 18 Clavecin brisé : Parts separated.
private ownership, and was acquired in 1985. In its long his

four centuries the spinet was restored several times. Figu
shows a harpsichord by the famous Andreas Ruckers the E
It was restored, and a reproduction instrument (Kat.-Nr. 56
same time by the late Horst Rase, former chief restorer (
the two harpsichords are together in the exhibition hall, and t
1618, can be compared with the reproduction, dated 1997.
The clavecin brisé (Kat.-Nr. 288) by Jean Marius, Paris, ca
teresting and rare instrument (see Figures 17 and 18). The
harpsichord can be folded up and put into a case. It wa
Charlotte of Prussia and the already-mentioned Prussian
Great. This instrument formerly belonged to the Brande
Kunstkammer.
A two-manual harpsichord (Kat.-Nr. 5715) by Benoist Stehlin, Paris, is dated
1767. This instrument was acquired in 1998 and could fill a long-felt gap. The
grand piano in Figure 19, built by Joseph Brodmann (Kat.-Nr. 312) in Vienna,
ca 1810, formerly belonged to the German composer Carl Maria von Weber, re
garded as the creator of German romantic opera. It is said that Weber com
posed some parts of his opera Der Freischütz, first performed in Berlin in 1821,
at this piano. In the background of this illustration the composer is seen in the
oil painting by Caroline Bardua (Berlin, 1821), on loan from the national
gallery of the Stiftung Preußischer Kulturbesitz. The arpeggione on the right
hand wall is attributed to Anton Mitteis.
Every Saturday, concerts take place on the "Mighty Wurlitzer" (Kat.-Nr.
5369) theatre and cinema organ (see Figure 9). Several CDs of it are also avail
FIGURE 19 Grand Piano by Joseph Brodmann
able. One of the functions of the cinema organ in the 1920s was to provide the
musical accompaniment for silent films. During the events "Schauplatz
Museum" [Scene: The Museum], annually in January and February, and
"Lange Nacht der Museen" [Long Night of the Museums], twice a year, this
old tradition is revived. The four-manual instrument extends over the three lev
els of the museum (basement, ground floor and first floor). Although it has an
electrical action, the organ has nothing in common with modern-day electron
ics. It was built by the Rudolph Wurlitzer Company, North Tonawanda, New
York, in 1929.
The museum, with its scholars and organologists Martin Eiste and Annette
Otterstedt, is headed by Conny Restle. It is among the leading collections in
Europe. The director of the institute, Thomas Ertelt, intends to continue and
to increase the co-operation between the museum and the institute.
Résumé
Le Staatliches Institut für Musikforschung (SIM) est une institution de l'or

ganisation Preußischer Kulturbesitz à Berlin. Le SIM fut fondé en 1935 et con
tient des départements de recherche, une bibliothèque scientifique et le
musée d'instruments de musique. La bibliothèque, spécialisée sur la théorie
musicale et l'organologie, possède plus que 67.500 volumes. La plupart des
livres, des journaux et des œuvres musicales écrites sont accessibles en con
sultation sur place. Le musée d'instruments de musique fut fondé en 1888,
mais ce n'est qu'en 1984 que le musée put s'installer dans un bâtiment con
sacré à lui seul, où musicologues, restaurateurs et acousticiens peuvent enfin
FIGURE 20 Console of the four-manual Cinema and The

Wurlitzer"
travailler et réaliser des projets de long terme. Le m

que 2.500 objets de musique, datant du XVI au XXe s
eux sont à visiter dans la salle d'exposition, beauco
ment à écouter aux « stations de son ».
Zusammenfassung
Das Staatliche Institut für Musikforschung (SIM) ist eine Einrichtung der
Stiftung Preußischer Kulturbesitz in Berlin. Das 1935 gegründete SIM besteht
aus Forschungseinrichtungen, einer wissenschaftlichen Spezialbibliothek und
dem Musikinstrumenten-Museum. Die Bibliothek hat einen Bestand von über
67.500 Bänden, besondere Schwerpunkte sind hierbei die Musiktheorie und
die Instrumentenkunde. Die meisten Bücher, Zeitschriften und Musikalien
sind im Freihandbereich zugänglich. Das Musikinstrumenten-Museum wurde
1888 gegründet. Erst 1984 konnte das Museum ein eigenes Haus beziehen, in
dem Musikwissenschaftler, Instrumentenkundler, Restauratoren und
Akustiker an langfristigen Projekten arbeiten können. Von den über 2.500
Objekten des Museums vom 16. bis zum 20. Jahrhundert sind etwa 800 im
Ausstellungsraum zu sehen, viele Instrumente können an Klangstationen
gehört werden.

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A UNIQUE SOURCE FOR MUSICAL INSTRUMENTS: the Library and the Museum of Musical

Instruments at the SIM, Berlin

International Association of Music Libraries, Archives, and Documentation Centres

Susanne Staral (Berlin)i

The SIM (Staatliches Institut für Musikforschung)

The SIM's library

FIGURE 1 Aerial view of the Staatliches Institut

alphabetical subject catalogue of articles. The item cata

FIGURE 3 The SIM Library

FIGURE 4 The Royal Academy of Music in Berlin, Stei

The Musikinstrumenten-Museum [Museum of Musical Instruments]

FIGURE 5 The Exhibition Hall in the Collection of Ancient Musical Instruments at

lection's former international reputation. At the same time he revived the

FIGURE 6 Nineteenth-century Wind Instruments in th

FIGURE 7 View of the new Museum of Musical Instruments

displayed in the exhibition hall, and many of them

Some Highlights of the Museum of Musical I

14. See Irmgard Otto in collaboration with Olga Adelmann,

FIGURE 8 The Interior of the Museum, West Wing. In the

FIGURE 9 The Exhibition Hall, seen from the South End, w

A group of shawms, also from Naumburg (Kat.-

FIGURE 10 Transverse Flute by Johann Joachim Quantz, B

, k | fiy W" *■■***

FIGURE 11 Manuscript Fingering Chart for Transverse Flute, most prob

FIGURE 12 Lion's Head of the Double Bass Kat.-Nr. 1410

FIGURE 13 Label "Andreas Jaiß Lautten/macher in Töltz. A[nn]o: 1730".

FIGURE 14 Bowed Instruments of the Alemannic School

FIGURE 15 Harpsichord by Andreas Ruckers the Elder, Antwerp, 1618

FIGURE 16 Workshop Photograph by Horst Rase

FIGURE 17 Clavecin brisé/Folding Harpsichord b

FIGURE 18 Clavecin brisé : Parts separated.

private ownership, and was acquired in 1985. In its long his

FIGURE 19 Grand Piano by Joseph Brodmann

Le Staatliches Institut für Musikforschung (SIM) est une institution de l'or

FIGURE 20 Console of the four-manual Cinema and The

travailler et réaliser des projets de long terme. Le m

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