8/122 Ducummun-Girod Mandoline No. 13725 circa 1881
Bought at a Cologne auction in November 2022, described thus:
Mandolin Musical Box by Ducommun-Girod, c. 1870
No. 13725/48, playing eight operatic airs and dances including "Il Trovatore, Coro di Zingari" ("The Anvil Chorus") by Verdi and "Le Pardon de Plörmel" by Meyerbeer, with 122 teeth in two combs (extreme bass tooth missing), mandoline teeth in groups of up to five, flat-topped winding lever, tune sheet no. 15765 (No. 79 in "Musical Box Tune Sheets" by H.A.V. Bulleid), dark-stained case with red interior, brass stringing and inlaid brass quatrefoils on front and lid, wd. 26 in. (66 cm), cylinder 17 in. (43 cm), case refinished, movement in unrestored playing condition, missing controls. - Literature: Arthur W.J.G. Ord-Hume, "The Musical Box, a Guide for Collectors", p. 107. Ord-Hume illustrates a mandolin musical box by Samuel Troll in a very similar case. - The present example carries the serial number of the movement in pencil on the underside of the case. The number 15765 on the tune sheet is presumably the gamme number and refers to the musical program. - A well-arranged mandolin movement in an unusual and elegant case.
We are not so sure about some of this! Read on ...
Mandolin Musical Box by Ducommun-Girod, c. 1870
No. 13725/48, playing eight operatic airs and dances including "Il Trovatore, Coro di Zingari" ("The Anvil Chorus") by Verdi and "Le Pardon de Plörmel" by Meyerbeer, with 122 teeth in two combs (extreme bass tooth missing), mandoline teeth in groups of up to five, flat-topped winding lever, tune sheet no. 15765 (No. 79 in "Musical Box Tune Sheets" by H.A.V. Bulleid), dark-stained case with red interior, brass stringing and inlaid brass quatrefoils on front and lid, wd. 26 in. (66 cm), cylinder 17 in. (43 cm), case refinished, movement in unrestored playing condition, missing controls. - Literature: Arthur W.J.G. Ord-Hume, "The Musical Box, a Guide for Collectors", p. 107. Ord-Hume illustrates a mandolin musical box by Samuel Troll in a very similar case. - The present example carries the serial number of the movement in pencil on the underside of the case. The number 15765 on the tune sheet is presumably the gamme number and refers to the musical program. - A well-arranged mandolin movement in an unusual and elegant case.
We are not so sure about some of this! Read on ...
Paul Bellamy, author of The Music Box Makers of Switzerland, writes ...
"Another interesting tune sheet and one of the best examples so far recorded.
The tune sheet titles seem to be a translation from mixture of languages, Italian, perhaps some German and French. The person who wrote them could either have been a French-speaking (e.g. Swiss) or even Italian."
The experts think that the box and tunes were both a special commission by someone with plenty of money and who had a detailed knowledge of opera as the tune list is very mixed, some popular operas of the day and some rare non-opera ones.
Tunes 3, 4 & 8 are almost certainly special commissions.
"The person who commissioned this box must have been wealthy. It is the first time I have seen this type and quality of inlay.
The musical repertoire has been carefully selected from some popular operas of the day. I don’t think any of them are ‘standards’ so probably specially arranged for the buyer. He must have had some connection with Heidelberg University, probably the oldest European university in Germany.
HAV Bulleid only illustrated one tune sheet of this pattern. He thought it was a general purpose one, printed by Pilet & Cougnard of Geneva. It was on a Ducommun circa 1864, a Harmoniphone model (one with reed organs). He thought it was a replacement tune sheet but gave no reason.
Ducommun used quite a lot of different tune sheet patterns so it could be a Ducommun, but I doubt it very much.
Bulleid also claimed the pattern was used by Auguste Perrelet who took over from the Lecoultres in 1872 but he gave no examples.
The date of this musical box has to be post 1859 so I guess somewhere in the 1860s or even early 1870s.
The real serial number will be 13725. The other number on the tune sheet may be an agent’s serial number (quite common).
If by Ducommun, it would date to about 1882, which seems unlikely because Mandoline movements spanned from about 1850 through to the 1880s. If this box dates to about the 1860s or thereabouts, the only other Geneva maker that fits is Metert & Langdorf.
Their end caps have both the gamme number and date, usually abbreviated such as G 47/61 (gamme 47, 1861). Their characteristics changed about the time David Langdorff died in 1872. Characteristics are combs with two dowels instead of three, brass bedplates were replaced by cast iron, the large serial number that was stamped on bedplates disappeared (as in this case), serial numbers were scribed or stamped on the bass-end cylinder end cap. I am not sure if the gamme and date code were still scribed on the end cap - probably not. Gamme number was scribed on the end bass lead weight.
If it is by Langdorff, it will be about 1862.
As usual, it's very difficult to establish the maker with confidence but I don’t think it matters very much. Both were very good makers. Langdorff also used a lot of different agents, which might explain the two serial numbers on the tune sheet."
"Another interesting tune sheet and one of the best examples so far recorded.
The tune sheet titles seem to be a translation from mixture of languages, Italian, perhaps some German and French. The person who wrote them could either have been a French-speaking (e.g. Swiss) or even Italian."
The experts think that the box and tunes were both a special commission by someone with plenty of money and who had a detailed knowledge of opera as the tune list is very mixed, some popular operas of the day and some rare non-opera ones.
Tunes 3, 4 & 8 are almost certainly special commissions.
"The person who commissioned this box must have been wealthy. It is the first time I have seen this type and quality of inlay.
The musical repertoire has been carefully selected from some popular operas of the day. I don’t think any of them are ‘standards’ so probably specially arranged for the buyer. He must have had some connection with Heidelberg University, probably the oldest European university in Germany.
HAV Bulleid only illustrated one tune sheet of this pattern. He thought it was a general purpose one, printed by Pilet & Cougnard of Geneva. It was on a Ducommun circa 1864, a Harmoniphone model (one with reed organs). He thought it was a replacement tune sheet but gave no reason.
Ducommun used quite a lot of different tune sheet patterns so it could be a Ducommun, but I doubt it very much.
Bulleid also claimed the pattern was used by Auguste Perrelet who took over from the Lecoultres in 1872 but he gave no examples.
The date of this musical box has to be post 1859 so I guess somewhere in the 1860s or even early 1870s.
The real serial number will be 13725. The other number on the tune sheet may be an agent’s serial number (quite common).
If by Ducommun, it would date to about 1882, which seems unlikely because Mandoline movements spanned from about 1850 through to the 1880s. If this box dates to about the 1860s or thereabouts, the only other Geneva maker that fits is Metert & Langdorf.
Their end caps have both the gamme number and date, usually abbreviated such as G 47/61 (gamme 47, 1861). Their characteristics changed about the time David Langdorff died in 1872. Characteristics are combs with two dowels instead of three, brass bedplates were replaced by cast iron, the large serial number that was stamped on bedplates disappeared (as in this case), serial numbers were scribed or stamped on the bass-end cylinder end cap. I am not sure if the gamme and date code were still scribed on the end cap - probably not. Gamme number was scribed on the end bass lead weight.
If it is by Langdorff, it will be about 1862.
As usual, it's very difficult to establish the maker with confidence but I don’t think it matters very much. Both were very good makers. Langdorff also used a lot of different agents, which might explain the two serial numbers on the tune sheet."
Paul also describes the tunes:
1. Lucrezia Terzetto "Guai se ti sfugge" by Gaetano Donizetti From Act 1 of the Opera "Lucrezia Borgia"
Lucretia (a shortened version of Donizetti’s famous Lucretia Borgia, premiered in 1833). Terzetto is Italian for trio. This refers to the Grand Trio of the opera.
Lucretia (a shortened version of Donizetti’s famous Lucretia Borgia, premiered in 1833). Terzetto is Italian for trio. This refers to the Grand Trio of the opera.
2.Il Trovatore "Coro di Zingari" by Giuseppe Verdi.
Il Trovatore (the Troubadore, 1836) was a musical standard of the day. Coro di Zingari is the famous Anvil Chorus from Act 2, Scene 1
Il trovatore ('The Troubadour') is an opera in four acts to an Italian libretto largely written by Salvadore Cammarano, based on the play El trovador (1836) by Antonio García Gutiérrez. The premiere took place at the Teatro Apollo in Rome on 19 January 1853. Coro di Zingari, probably Italian spelling for the Gypsy Choir or Gipsy Chorus
Il Trovatore (the Troubadore, 1836) was a musical standard of the day. Coro di Zingari is the famous Anvil Chorus from Act 2, Scene 1
Il trovatore ('The Troubadour') is an opera in four acts to an Italian libretto largely written by Salvadore Cammarano, based on the play El trovador (1836) by Antonio García Gutiérrez. The premiere took place at the Teatro Apollo in Rome on 19 January 1853. Coro di Zingari, probably Italian spelling for the Gypsy Choir or Gipsy Chorus
3. No. 2 Valse de l'Université de Heidelberg by F C Kohlenberger.
No information can be found about this tune.
No information can be found about this tune.
4. Martha Ariette "En Lançant trait sur trait" by Fredrich von Flotow.
This is Nancy’s Jägerlied, "Jägerin Schlau im Sinn" from Act III, scene 1, in the French version. The text is describing the lady huntresses shooting arrow after arrow ("trait sur trait").
This is Nancy’s Jägerlied, "Jägerin Schlau im Sinn" from Act III, scene 1, in the French version. The text is describing the lady huntresses shooting arrow after arrow ("trait sur trait").
5. Robert le Diable, Cavatina "Crains ma fureur" by Giacomo Meyerbeer - Paris 1831
Robert's aria From Act IV, scene 2. The text is "Fear my fury." It is addressed to Isabella, the Princess of Sicily. It has nothing to do with Robert's fear of the devil.
Robert's aria From Act IV, scene 2. The text is "Fear my fury." It is addressed to Isabella, the Princess of Sicily. It has nothing to do with Robert's fear of the devil.
6. Schlumer Polka by Ernst Beyer (known in English editions as Slumber Polka)
(Schlumer [i.e., Schlummer] Polka, [Ernst] Beyer)
Op. 1 by Ernst, not Ferdinand, Beyer.
Schlumer is German for slumber.
(Schlumer [i.e., Schlummer] Polka, [Ernst] Beyer)
Op. 1 by Ernst, not Ferdinand, Beyer.
Schlumer is German for slumber.
7. Le Pardon de Ploërmel Berceuse by Giacomo Meyerbeer - Paris 1859
Le Pardon de Ploermel was from Meyerbeer’s opera Dinorah, was written in 1859. The Berceuse, “Bellah, ma chèvre chérie,” is Act I, no. 2, but the version on the music box bears very little resemblance to it.The 'e' in Ploemel is a letter used as an accent over the preceding 'o' that changes the sound of the 'o' when spoken (i.e. Plomel, a character in the opera.
Le Pardon de Ploermel was from Meyerbeer’s opera Dinorah, was written in 1859. The Berceuse, “Bellah, ma chèvre chérie,” is Act I, no. 2, but the version on the music box bears very little resemblance to it.The 'e' in Ploemel is a letter used as an accent over the preceding 'o' that changes the sound of the 'o' when spoken (i.e. Plomel, a character in the opera.
8. Délices d'Espangne, Mazurka by Joseph Ascher
‘Spanish delights’ is a mazurka by Joseph Asher who died in 1869.
‘Spanish delights’ is a mazurka by Joseph Asher who died in 1869.