One of the scenes in Monréal and Blondeau’s Paris port de mer, which played at the Parisian Théâtre des Variétés in 1891, involves a horse race.

L’Illustration, Vol. XCVII (14 March 1891): 236.

An engraving published in L’Illustration beautifully depicts this realistic and motion-filled horse race from the perspective of the audience. From this view, however, it is difficult to discern exactly how this event was produced. Are the horses mechanical? Are they real, but restrained in some way? How did they do it? The next image reveals the technology used to create the illusion. When you think you have it all figured out, scroll down!

Ibid.

Astoundingly, the stage of the Théâtre des Variétés was rigged with three separate treadmills, upon which three living, breathing horses, ridden by three likely-professional jockeys, galloped unrestrained. To create the illusion of the horses running on a track, the pickets of the fence in the foreground were attached to a belt, which moved concurrently to the 95 yards of scenery canvas being unwound in the background. So, as the horses seemingly move in one direction, the sliding fence pickets and scenery canvas moved in the opposite direction, giving the feeling of motion . Et voilà, a horse race on stage!

RIPM search tip: A combined search for “horse race” as a keyword in RIPM Retrospective Index and Preservation Series: European and North American Music Periodicals generates a list of 109 results, including a four-verse song published in an 1824 issue of the London journal The Harmonicon entitled, “The Race-Horse”.

RIPM is an international non-profit organization preserving and providing access to music periodicals published in more than twenty countries between approximately 1760 and 1966, from Bach to Bernstein. Functioning under the auspices of the International Musicological Society, and the International Association of Music Libraries, Archives, and Documentation Centres, RIPM produces four electronic publications: Retrospective Index to Music Periodicals, Retrospective Index to Music Periodicals with Full Text, European and North American Music Periodicals (Preservation Series), and RIPM Jazz Periodicals (forthcoming). WWW.RIPM.ORG

RIPM’s “Illustrations of the Week” gets into the festive spirit by featuring two picturesque scenes of ice skating rinks in 19th-century Paris. Look carefully, for each contains an orchestra!

The skating rink at the Closerie des Lilas.L'Illustration, Vol. LXVII (15 April 1876): 253.

The skating rink of the Saint-Honoré suburbL'Illustration, Vol. LXVIII (5 August 1876): 96.

Happy holidays from all of us at the RIPM Center!

RIPM search tip: Want to know how some celebrated 19^th-century composers and performers spent the holiday season? Read our curio from December 2015 here!

What do Hector Berlioz, Felix Mendelssohn, Giuseppe Verdi, Sir Arthur Sullivan, and Richard Wagner have in common? They all composed for the ophicleide! Patented in 1821 by French instrument maker Jean Hilaire Asté, the ophicleide was used in military bands and orchestras well into the 20^th-century, though it has now been largely superseded by the tuba. Moreover, author, composer, and organist Dr. Orlando Mansfield described this instrument as "ugly" and "curious" in a 1929 issue of The New Music Review and Church Music Review.

The New Music Review and Church Music Review, Vol. 28 No. 335 (October 1929): 407.

An early image of an ophicleide designed by instrument makers Griesling & Schott.Berliner allgemeine musikalische Zeitung, Vol. 6 No 2 (10 January 1829): [1S] 16/17.

Hector Berlioz wrote briefly about the ophicleide in his Grand traité d’instrumentation et d’orchestration modernes. This text was later translated and reprinted in Dwight’s Journal of Music.

Dwight's Journal of Music, Vol. 10 No 22 (28 February 1857): 170.

An illustration of an ophicleide with a fingering chart and compass.Cäcilia, No. 34 ([1828]): [1S] 128/29.

Berlioz selected this "monstrous" “bull” of an instrument to feature prominently in the fifth movement of his Symphonie fantastique. When paired with its bass wind instrument cousin, the serpent, the duo creates an ominous atmosphere when performing the Medieval Latin hymn, “Dies Irae”. Let's listen to it.

Nevertheless, the ophicleide’s "growl, grunt, or roar" led it to be the subject of humorous caricatures and some pointed comments in the press.

The Musical World, Vol. 9 No. 208 (23 December 1841): 404.

This caricature depicts, in a refreshing manner, the ophicleide as brazen and powerful.L’Illustration, Vol. LXXXII (28 July 1883): 61.

In fact, the effort required to produce a sound on the instrument even led some to speculate that it could cause health problems.

The Musical World, Vol. 9 No. 196 (30 September 1841): 215.

Caricatures also depicted the large size of the instrument itself.L’Illustration, Vol. XXV (4 February 1860): 77.

While the ophicleide may have developed a reputation for being unwieldy and odd, a small community of musicians continues to perform on this unusual instrument. Some, like the Sydney Ophicleide Quartet, achieve an admirable level of tonal beauty and virtuosity.

RIPM search tip: To read more anecdotes and reviews of the ophicleide, search “ophicleide” as a keyboard in RIPM’s Retrospective Index and e-Library of Music Periodicals.

Today, we feature five sumptuous covers from the Italian journal, Ars et labor: Musica e musicisti (1906-1912), issued by the famed Milan publishing house, Ricordi.

Vol. 63 No. 12 (15 December 1908)

Vol. 61 No. 3 (15 March 1906)

Vol. 61 No. 7 (15 July 1906)

Vol. 67 No. 12 (15 November 1912)

Vol. 63 No. 6 (15 June 1908)

RIPM search tip: Ars et labor: Musica e musicisti (Milan, 1906-1912) can be found in full text in RIPM’s e-Library of Music Periodicals. To view this journal specifically, select the periodical in Browse Mode!

Proposed By Marten Noorduin

Here are a few entertaining anecdotes from the musical press about Jenny Lind. As today is Friday, perhaps they will set the right tone for your weekend.

Strenna Teatrale Europea, Vol. 11 No. 1 (1848): [II pc]. In the 1850s American showman P.T. Barnum arranged a tour of the United States for the Swedish Nightingale, the celebrated soprano Jenny Lind. These three anecdotes and two illustrations reflect the immense success of the tour.

The sale of tickets for a Jenny Lind concert in AmericaL’Illustration, Vol. XVI (23 November 1850): 325.

Saroni's Musical Times, Vol. 1 No. 51 (14 September 1850): 601.

The Musical World, Vol. XXVI [XXIX] No. 38 (20 September 1851): 605.

The Message Bird, Vol. 2 No. 36 (15 January 1851): 590.

Punch; Or, London Charivari, Vol. 19 (1850): 146. Throughout her career, musical tributes for the Swedish Nightingale abounded. In fact, the collection of The National Museum of American History holds the sheet music of an 1846 piece written in honor of Jenny Lind composed by Anton Wallerstein and entitled, "Jenny Lind’s Favorite Polka". If one believes that the popularity of her name was limited to the 19th-century, here is a surprising 1956 example reflecting its presence in the 20th.

RIPM search tip: Searching “Jenny Lind” as a keyword in both RIPM’s Retrospective Index and e-Library of Music Periodicals generates a list of 4,554 results!