Its seems that the V&A plans to disperse its musical instrument collection. One of the advantages of major museum like the V&A having a collection of instruments is the serendipity of it, people can wander in without having planned to see them. I can well remember my childhood visits to the museum and being delighted at being able to see and hear the instruments. Also, as a museum of decorative arts, the instruments themselves are often of decorative interest as well. Gems include Elizabeth I's Virginals, a recorder (of ivory and tortoiseshell) which belonged to Rossini and two pianos owned and decorated by Burne-Jones.
The gallery is in need of refurbishment and I imagine that the collection itself might require a bit of investment. Instead of doing this, they plan to move part of the collection to the Horniman Museum (which has an excellent collection already), with the rest either going into store or being placed with other museums. This is on a par with the other reference collections in the museum, which generally seem to be either being played down or put into storage. The V&A is frankly running out of space and their drive to modernise and include more contemporary decorative arts, whilst entirely worthy, is meaning that bits and pieces are being squeezed.
The Horniman Museum is an entirely loveable and admirable institution, but it already has an overflowing collection of musical instruments (including its own holdings as well as the Dolmetsch collection). Also, it is in South East London, hardly well placed to attract lots of tourists. We need a musical collection in one of the National Museums.
The problem is that, in a museum of Decorative Arts, the musical instrument gallery looks a little out of place. You can understand collections of lace, pottery or iron-work. But the interest in the musical gallery was never completely decorative. In stead of bemoaning the instruments removal from the V&A perhaps we should be campaigning for their home in another more suitable museum. How about the Theatre Museum, oh I forgot, the V & A canned that one as well and have an etiolated version at South Kensington. Perhaps the Tate should make space for the gallery in their latest carbuncle at Bankside.
Tuesday, 19 January 2010
Subscribe to:
Post Comments (Atom)
Popular Posts this month
-
What about blowing the box to pieces: composer Eímear Noone on writing for video games, films and TVEímear Noone (Photo: Andy Paradise) Dublin and LA-based composer Eímear Noone is known for her scores for video games, films and TV. She re...
-
Georges Bizet's Les Pêcheurs de Perles ; Julie Fuchs, Cyrille Dubois, Florian Sempey, L'orchestra nationale de Lille, Alexandre ...
-
Britten: Peter Grimes - Nicky Spence - Welsh National Opera, 2025 (Photo: Dafydd Owen) Britten: Peter Grimes; Nicky Spence, Sally Matthews,...
-
Mozart: Le Nozze di Figaro - Sarasota Opera, 2025 - (Photo: Robert Millington for Sarasota Opera) Mozart: Le nozze di Figaro , Verdi: Stiff...
-
Bach: Liebster Jesu, mein Verlangen - Olivier Stankiewicz, Lucy Crowe, ensemble led by Maria Włoszczowska - Wigmore Hall (taken from live s...
-
Libertas : Beethoven, Schubert, Beach, Marx; Äneas Humm, Doriana Tchakarova; Rondeau Production Reviewed 19 April 2025 The young Swiss barit...
-
Prokofiev: Suite from Semyon Kotko - Vladimir Jurowski, London Philharmonic Orchestra - Royal Festival Hall (Photo: Marc Gascoigne) Prokof...
-
Natalie Burch, James Way and Annemarie Federle at St Mary's Parish Church, Haddington where their recording of Britten's Canticles ...
-
Sunwook Kim & Chamber Orchestra of Europe - Barbican Centre (Photo: Ed Maitland-Smith/Barbican Centre) Anna Clyne: Stride , Beethoven: P...
-
The first page of Mozart's autograph score of the Requiem Mozart: Symphony No. 35 , Requiem, Bruckner, Rheinberger; Hannah Dienes-Willia...
No comments:
Post a Comment