8/77 Paillard Vaucher "Harpe Eolienne" Cartel circa 1879
Bought via Fieldings Auctions in June 2022
A rather nice double spring two comb movement with tune sheet headed "Harpe Eolienne" which mean "Air Harp" or "Harp played by the wind" and named after the Greek God Aeolus.
A rather nice double spring two comb movement with tune sheet headed "Harpe Eolienne" which mean "Air Harp" or "Harp played by the wind" and named after the Greek God Aeolus.
After reassembly (apart from the tune sheet which needs some restoration)
The movement appears to have been partially restored and there are virtually no bent pins.
Some components, including the zither, lid and tune sheet, had not been reinstated.
I have reassembled all the pieces and mechanically everything is present except for a key for the lock.
Although beautifully clean looking, its been over oiled, including all the cogs, and I think the cylinder has been lacquered so it's going to need a full clean and service before I'm happy with it.
The box itself is in very good condition and will only require a clean and coat or two of shellac.
Unfortunately the glass lid is missing, presumably lost while it was dismantled, so I'm going to have to make a new one.
A project for 2024
Some components, including the zither, lid and tune sheet, had not been reinstated.
I have reassembled all the pieces and mechanically everything is present except for a key for the lock.
Although beautifully clean looking, its been over oiled, including all the cogs, and I think the cylinder has been lacquered so it's going to need a full clean and service before I'm happy with it.
The box itself is in very good condition and will only require a clean and coat or two of shellac.
Unfortunately the glass lid is missing, presumably lost while it was dismantled, so I'm going to have to make a new one.
A project for 2024
Tune 1
Pinafore, Ocean bleu "We sail the ocean blue" (sailors) from Act 1 of H.M.S. Pinafore; or, The Lass That Loved a Sailor is a comic opera in two acts, with music by Arthur Sullivan and a libretto by W. S. Gilbert. It opened at the Opera Comique in London on 25 May 1878, and ran for 571 performances, which was the second-longest run of any musical theatre piece up to that time. H.M.S. Pinafore was Gilbert and Sullivan's fourth operatic collaboration and their first international sensation.
Pinafore, Ocean bleu "We sail the ocean blue" (sailors) from Act 1 of H.M.S. Pinafore; or, The Lass That Loved a Sailor is a comic opera in two acts, with music by Arthur Sullivan and a libretto by W. S. Gilbert. It opened at the Opera Comique in London on 25 May 1878, and ran for 571 performances, which was the second-longest run of any musical theatre piece up to that time. H.M.S. Pinafore was Gilbert and Sullivan's fourth operatic collaboration and their first international sensation.
Tune 2
Home Sweet Home is an American Civil War song, originally an opera called Clari, or The Maid of Milan. The lyrics were written by John Howard Payne and set to music composed by Sir Henry Bishop in 1823
Home Sweet Home is an American Civil War song, originally an opera called Clari, or The Maid of Milan. The lyrics were written by John Howard Payne and set to music composed by Sir Henry Bishop in 1823
Tune 3
Rigoletto, La Dona e mobile "Woman is fickle") is the Duke of Mantua's canzone from the beginning of act 3 of Giuseppe Verdi's opera Rigoletto (1851). The canzone is famous as a showcase for tenors. Raffaele Mirate's performance of the bravura aria at the opera's 1851 premiere was hailed as the highlight of the evening. Before the opera's first public performance (in Venice), the aria was rehearsed under tight secrecy: a necessary precaution, as "La donna è mobile" proved to be incredibly catchy, and soon after the aria's first public performance it became popular to sing among Venetian gondoliers.
Rigoletto, La Dona e mobile "Woman is fickle") is the Duke of Mantua's canzone from the beginning of act 3 of Giuseppe Verdi's opera Rigoletto (1851). The canzone is famous as a showcase for tenors. Raffaele Mirate's performance of the bravura aria at the opera's 1851 premiere was hailed as the highlight of the evening. Before the opera's first public performance (in Venice), the aria was rehearsed under tight secrecy: a necessary precaution, as "La donna è mobile" proved to be incredibly catchy, and soon after the aria's first public performance it became popular to sing among Venetian gondoliers.
Tune 4
Carmen, Horndean, is from the opera in four acts by the French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on the novella of the same title by Prosper Mérimée. The opera was first performed by the Opéra-Comique in Paris on 3 March 1875, where its breaking of conventions shocked and scandalised its first audiences.
Carmen, Horndean, is from the opera in four acts by the French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on the novella of the same title by Prosper Mérimée. The opera was first performed by the Opéra-Comique in Paris on 3 March 1875, where its breaking of conventions shocked and scandalised its first audiences.
Tune 5
La Fille de Madame Angot Legende (The Legend of Madame Angot's Daughter) is an opéra comique in three acts by Charles Lecocq with words by Clairville, Paul Siraudin and Victor Koning. It was premiered in Brussels in December 1872 and soon became a success in Paris, London, New York and across continental Europe.
La Fille de Madame Angot Legende (The Legend of Madame Angot's Daughter) is an opéra comique in three acts by Charles Lecocq with words by Clairville, Paul Siraudin and Victor Koning. It was premiered in Brussels in December 1872 and soon became a success in Paris, London, New York and across continental Europe.
Tune 6
Fatinitza (Marche) was the first full-length, three-act operetta by Franz von Suppé. The libretto by F. Zell (a pseudonym for Camillo Walzel) and Richard Genée was based on the libretto to La circassienne by Eugène Scribe (which had been set to music by Daniel Auber in 1861), but with the lead role of Wladimir, a young Russian lieutenant who has to disguise himself as a woman, changed to a trousers role; in other words, a woman played the part of the man who pretended to be a woman.
Fatinitza (Marche) was the first full-length, three-act operetta by Franz von Suppé. The libretto by F. Zell (a pseudonym for Camillo Walzel) and Richard Genée was based on the libretto to La circassienne by Eugène Scribe (which had been set to music by Daniel Auber in 1861), but with the lead role of Wladimir, a young Russian lieutenant who has to disguise himself as a woman, changed to a trousers role; in other words, a woman played the part of the man who pretended to be a woman.
Tune 7
Cloches de Cornville (No. 20 Valse) (The Bells of Corneville, sometimes known in English as The Chimes of Normandy) is an opéra-comique in three acts, composed by Robert Planquette to a libretto by Louis Clairville and Charles Gabet. It was first presented at the Fantaisies-Parisiennes on 19 April 1877, and ran for 596 performances, taking in more than 1.6 million francs at the box office.
No. 20. Rondo-waltz – "Je regardais en l'air" (I have looked in the air) – Grenicheux
Cloches de Cornville (No. 20 Valse) (The Bells of Corneville, sometimes known in English as The Chimes of Normandy) is an opéra-comique in three acts, composed by Robert Planquette to a libretto by Louis Clairville and Charles Gabet. It was first presented at the Fantaisies-Parisiennes on 19 April 1877, and ran for 596 performances, taking in more than 1.6 million francs at the box office.
No. 20. Rondo-waltz – "Je regardais en l'air" (I have looked in the air) – Grenicheux
Tune 8
La Muette de Portici Barcarolle by Daniel François Esprit Auber. With Scribe he wrote the first French grand opera, La Muette de Portici (The Dumb Woman of Portici) in 1828, which paved the way for the large-scale works of Giacomo Meyerbeer.
La Muette de Portici Barcarolle by Daniel François Esprit Auber. With Scribe he wrote the first French grand opera, La Muette de Portici (The Dumb Woman of Portici) in 1828, which paved the way for the large-scale works of Giacomo Meyerbeer.