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Le Musée des Instruments à vent

Salle d'exposition du Musée des Instruments à vent. Fondé en 1888, ce musée, labellisé Musée de France, valorise la facture instrumentale présente depuis le…

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Le Musée des Instruments à vent

Effect of the collaboration between the maker Djalma Julliot and the flutist François Borne, professor at the conservatory of music of Toulouse, this flute dated 1901 is the result of the modification of the Boehm system. The same year Julliot deposited the patent "Perfectionnements apportés à la flûte à clés, système Boehm". In the following years, Julliot will deposit a few patent modifications, in order to improve the sound and the playability of its instruments. The mention "BREVETÉ S.G.D.G.

Louis Lot (1807-1896) was a flute maker of La Couture-Boussey, son-in-law and business partner of Clair Godfroy. In 1860 he became the official supplier of the Conservatoire de Paris, thanks to Louis Dorus, flute professor at the Conservatoire and his former teacher. After his retirement in 1876, the company ownership changed several times, until 1951 when it was bought by S.M.L. (Strasser Marigaux Lemaire). The instrument presented (n. series 9801) was built in the 1970s in the Marigaux manufac

Denis Vincent was a luthier active between 1743 and 1769 at Rue de l'Observatoire in Paris. Very little of him is known, we know that he attended the marriage of Martin Lot in 1743 and that he was one of the five luthiers who in 1752 opposed to the election of Gilles Lot to their confraternity. Gilles' own cousin, Thomas III Lot, was among these luthiers. Apart from that, little information about him came to us. The flute was made between 1743 and 1769 and consists of five parts (head, sliding b

Flute

5 Pins

Documenting the contemporary making is one of the missions of the museum: in the collections, one can find several examples that are witnessing of a tradition still active on the territory. Made at La Couture-Boussey in 1986 and offered to the museum the same year, by the company S.M.L. (Strasser, Marigaux, Lemaire) three years after the inauguration of the current building, this ebony oboe is equipped with a plateau key system « conservatory », Double F key, F resonance key, Ab-Sib key, Gillet

Louis Cornet was a native of La Couture where his father was a woodturner. Louis moved to Paris, like his famous cousins of the Lot and Martin families. We owe to Auguste Tolbecque (1830-1919) the survival of the instrument: this oboe was included in one of the many panoplies of instruments owned by the great collector of from Niort, musician, luthier and one of the first supporters of early music in the 19th century. From an organological point of view, the instrument (the only oboe known, whil

Acquired in 2007, the semi-automatic oboe of Marigaux’s 2001 series, the largest company remaining at La Couture-Boussey, is in altuglass, a synthetic polymer similar to plexiglass. Since 1995, this oboe has been offered upon request with plated gold keys. The use of this material, virtually indestructible, allows a great resistance to climatic variations, incomparable to organic materials, like the wood normally used in instrument making. In recent years, materials research has become a constan

Oboe

6 Pins

The oldest bass clarinet of the collection, acquired in 1900, is signed Chapelain Fernand et Cie. The body is made out of ebony, while pavilion and bocal are in maillechort. It is equipped with a Boehm system. The Chapelain workshop was active in La Couture-Boussey between 1890 and 1917, the year when it was acquired by Robert Siour, becoming Siour-Chapelain. The iron mark , "FERNAND / Chapelain / & Cie", in a dotted oval surmounted by a rooster, was deposited on August 08, 1907 at the Commercia

Small boxwood clarinet (inv. 783) built by Jean-François Martin (1794-1876). It is in a very interesting state of conservation: the absence of the keys could make us think to a damage or a loss, while a more attentive analysis shows the absence of the holes. The Instrument was intentionally not completed, perhaps made for an exhibition. It was probably acquired to document the manufacturing techniques and steps considered necessary as part of the vocational training of the young workers.

Entered in the collection on October 27, 1896, as witnessed in the historical inventory of the museum, this clarinet was described as "Made after model" . The inventory also mentions "Curious specimen of clarinet, originally made and offered by Mr Lenoir Emile, Juliot Napoleon and Dumoulin Jules". It is interesting to notice the connection between the birth of the museum and the common effort of the makers of La Couture-Boussey to enrich its collections. The original instrument probably belonged

Clarinet

6 Pins

Analyzing the diplomas awarded to the concert bands (Harmonie l’Industrie and Harmonie Libre) of La Couture-Boussey, one can remark that the band members and conductors were (almost) all makers of the village : at that time, the majority of them were, at different degrees, musicians. This diploma awarded to Aimé Quérité (just one of the founding members of the Museum) and was signed by some illustrious names: Chédeville, Julliot, Rousseau, Dujardin, Vacqeurin, Robert and Gilbert.

This laurel and oak wreath is one of two prices awarded to the marching band of La Couture-Boussey in 1931 at the Saint-Étienne International Music Competition when Georges Leblanc (1872-1959) was the conductor. René Pothier donated it in 2012 to the Town Hall, which then donated it to the Museum.

Le Musée des instruments à vent retains more than 160 diplomas awarded to the concert bands (Harmonie l’Industrie and Harmonie Libre) of La Couture-Boussey, proof of their quality, during the golden age of regional, national and international music competitions that took place in France in the 19th and early 20th century. First prizes or gold medals and rewards for solo performance, sight reading, or execution.

Diplomas

6 Pins

The numerous machines kept in the collection help to better understand the stages of production and the evolution of the construction techniques. The vertical milling machine or jig borer is a machine used to locate the center position of a hole and to drill, ream and mill. A high-precision machine, already in use in the early 1900s, it reduces the margin of error and speeds up the production. Equipped with a metal model with the position of the tone holes and the holes needed to screw the posts

Some of the woodwind instrument maker hand tools

Outils de facteur

2 Pins

Similar ideas popular now

Oboe

Cornet

Milling Machine

This laurel and oak wreath is one of two prices awarded to the marching band of La Couture-Boussey in 1931 at the Saint-Étienne International Music Competition when Georges Leblanc (1872-1959) was the conductor. René Pothier donated it in 2012 to the Town Hall, which then donated it to the Museum. Fanfare, Basson, Music Competition, Saint Etienne, Marching Band, Town Hall, Georges, Laurel

Fanfare

Basson

Music Competition

Saint Etienne

Marching Band

Town Hall

Georges

Laurel

This laurel and oak wreath is one of two prices awarded to the marching band of La Couture-Boussey in 1931 at the Saint-Étienne International Music Competition when Georges Leblanc (1872-1959) was the conductor. René Pothier donated it in 2012 to the Town Hall, which then donated it to the Museum.

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Some of the woodwind instrument maker hand tools Woodwind Instrument, Art Google, Hand Tools, Musical Instruments, Musicals, Maker, Music Instruments, Musical Theatre

Woodwind Instrument

Art Google

Hand Tools

Musical Instruments

Musicals

Maker

Music Instruments

Musical Theatre

Some of the woodwind instrument maker hand tools

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Effect of the collaboration between the maker Djalma Julliot and the flutist François Borne, professor at the conservatory of music of Toulouse, this flute dated 1901 is the result of the modification of the Boehm system. The same year Julliot deposited the patent "Perfectionnements apportés à la flûte à clés, système Boehm". In the following years, Julliot will deposit a few patent modifications, in order to improve the sound and the playability of its instruments. The mention "BREVETÉ S.G.D.G. Toulouse, Conservatory, Deposit, Flute, Professor, Collaboration, Door Handles, Improve

Toulouse

Conservatory

Deposit

Flute

Professor

Collaboration

Door Handles

Improve

Effect of the collaboration between the maker Djalma Julliot and the flutist François Borne, professor at the conservatory of music of Toulouse, this flute dated 1901 is the result of the modification of the Boehm system. The same year Julliot deposited the patent "Perfectionnements apportés à la flûte à clés, système Boehm". In the following years, Julliot will deposit a few patent modifications, in order to improve the sound and the playability of its instruments. The mention "BREVETÉ S.G.D.G.

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Louis Lot (1807-1896) was a flute maker of La Couture-Boussey, son-in-law and business partner of Clair Godfroy. In 1860 he became the official supplier of the Conservatoire de Paris, thanks to Louis Dorus, flute professor at the Conservatoire and his former teacher. After his retirement in 1876, the company ownership changed several times, until 1951 when it was bought by S.M.L. (Strasser Marigaux Lemaire). The instrument presented (n. series 9801) was built in the 1970s in the Marigaux manufac Son In Law, Business Partner, Retirement, Partners, 1970s

Son In Law

Business Partner

Retirement

Partners

1970s

Louis Lot (1807-1896) was a flute maker of La Couture-Boussey, son-in-law and business partner of Clair Godfroy. In 1860 he became the official supplier of the Conservatoire de Paris, thanks to Louis Dorus, flute professor at the Conservatoire and his former teacher. After his retirement in 1876, the company ownership changed several times, until 1951 when it was bought by S.M.L. (Strasser Marigaux Lemaire). The instrument presented (n. series 9801) was built in the 1970s in the Marigaux manufac

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Denis Vincent was a luthier active between 1743 and 1769 at Rue de l'Observatoire in Paris. Very little of him is known, we know that he attended the marriage of Martin Lot in 1743 and that he was one of the five luthiers who in 1752 opposed to the election of Gilles Lot to their confraternity. Gilles' own cousin, Thomas III Lot, was among these luthiers. Apart from that, little information about him came to us. The flute was made between 1743 and 1769 and consists of five parts (head, sliding b Cousins, Apart, Thomas, Iii, Marriage, Active, 17th Century

Cousins

Apart

Thomas

Iii

Marriage

Active

17th Century

Denis Vincent was a luthier active between 1743 and 1769 at Rue de l'Observatoire in Paris. Very little of him is known, we know that he attended the marriage of Martin Lot in 1743 and that he was one of the five luthiers who in 1752 opposed to the election of Gilles Lot to their confraternity. Gilles' own cousin, Thomas III Lot, was among these luthiers. Apart from that, little information about him came to us. The flute was made between 1743 and 1769 and consists of five parts (head, sliding b

Le Musée des Instruments à vent

Le Musée des Instruments à vent

This French flageolet Noblet Denis (19th century, Inv. 121) of the flute family appeared in France during the 16th century. It is characterized by four holes on the front and two thumbholes. Traces of the word flageolet (from the words flageol, flagot, flaiol, flajo) are found since the 13th century, probably to describe a kind of pastoral flute. The French flageolet in its actual form is known for the first time in 1581 when Sieur Juvigny de Paris played it in the “Ballet Comique de la Reine”. 16th Century, Ballet, Form, France, Family, Accessories

16th Century

Ballet

Form

France

Family

Accessories

This French flageolet Noblet Denis (19th century, Inv. 121) of the flute family appeared in France during the 16th century. It is characterized by four holes on the front and two thumbholes. Traces of the word flageolet (from the words flageol, flagot, flaiol, flajo) are found since the 13th century, probably to describe a kind of pastoral flute. The French flageolet in its actual form is known for the first time in 1581 when Sieur Juvigny de Paris played it in the “Ballet Comique de la Reine”.

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Flute D. Noblet: 1830-1840, La Couture-Boussey (no inv 2019.1.5). Body in boxwood, rings in horns, 5 brass keys mounted on patinas in the shape of a half moon. This flute is marked «D. Noblet à Paris», the mark used by Denis Noblet Sr (1768-1839), son of Clair (1728-1805), the founder of the dynasty. This line is important since it leads to Denis Toussaint Noblet (1850-1919) who ceded his establishment to Georges Leblanc in 1904. Boxwood, Half Moon, Founder, Horns, Keys

Boxwood

Half Moon

Founder

Horns

Keys

Flute D. Noblet: 1830-1840, La Couture-Boussey (no inv 2019.1.5). Body in boxwood, rings in horns, 5 brass keys mounted on patinas in the shape of a half moon. This flute is marked «D. Noblet à Paris», the mark used by Denis Noblet Sr (1768-1839), son of Clair (1728-1805), the founder of the dynasty. This line is important since it leads to Denis Toussaint Noblet (1850-1919) who ceded his establishment to Georges Leblanc in 1904.

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Documenting the contemporary making is one of the missions of the museum: in the collections, one can find several examples that are witnessing of a tradition still active on the territory. Made at La Couture-Boussey in 1986 and offered to the museum the same year, by the company S.M.L. (Strasser, Marigaux, Lemaire) three years after the inauguration of the current building, this ebony oboe is equipped with a plateau key system « conservatory », Double F key, F resonance key, Ab-Sib key, Gillet Gillet, Oboe, Missions, Collections, System, Company

Gillet

Oboe

Missions

Collections

System

Company

Documenting the contemporary making is one of the missions of the museum: in the collections, one can find several examples that are witnessing of a tradition still active on the territory. Made at La Couture-Boussey in 1986 and offered to the museum the same year, by the company S.M.L. (Strasser, Marigaux, Lemaire) three years after the inauguration of the current building, this ebony oboe is equipped with a plateau key system « conservatory », Double F key, F resonance key, Ab-Sib key, Gillet

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Louis Cornet was a native of La Couture where his father was a woodturner. Louis moved to Paris, like his famous cousins of the Lot and Martin families. We owe to Auguste Tolbecque (1830-1919) the survival of the instrument: this oboe was included in one of the many panoplies of instruments owned by the great collector of from Niort, musician, luthier and one of the first supporters of early music in the 19th century. From an organological point of view, the instrument (the only oboe known, whil Early Music, Moving To Paris, Culture, Luthier, 19th Century, Families

Early Music

Moving To Paris

Culture

Luthier

19th Century

Families

Louis Cornet was a native of La Couture where his father was a woodturner. Louis moved to Paris, like his famous cousins of the Lot and Martin families. We owe to Auguste Tolbecque (1830-1919) the survival of the instrument: this oboe was included in one of the many panoplies of instruments owned by the great collector of from Niort, musician, luthier and one of the first supporters of early music in the 19th century. From an organological point of view, the instrument (the only oboe known, whil

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Acquired in 2007, the semi-automatic oboe of Marigaux’s 2001 series, the largest company remaining at La Couture-Boussey, is in altuglass, a synthetic polymer similar to plexiglass. Since 1995, this oboe has been offered upon request with plated gold keys. The use of this material, virtually indestructible, allows a great resistance to climatic variations, incomparable to organic materials, like the wood normally used in instrument making. In recent years, materials research has become a constan Material Research, Resistance, Diamond Bracelet, Polymer, Synthetic, How To Become

Material Research

Resistance

Diamond Bracelet

Polymer

Synthetic

How To Become

Acquired in 2007, the semi-automatic oboe of Marigaux’s 2001 series, the largest company remaining at La Couture-Boussey, is in altuglass, a synthetic polymer similar to plexiglass. Since 1995, this oboe has been offered upon request with plated gold keys. The use of this material, virtually indestructible, allows a great resistance to climatic variations, incomparable to organic materials, like the wood normally used in instrument making. In recent years, materials research has become a constan

Le Musée des Instruments à vent

Le Musée des Instruments à vent

The English horn is not a horn nor is English. It belongs to the family of oboes and the term horn probably comes from the fact that in the 18th century this instrument had a very large metal bell, like those of the horns. The adjective “English” is probably due to an old translation mistake of the German term “engelisches Horn”, the loss of the second "e" transforms the instrument from angelic (engelische) to English (englische). This instrument (no inv 414) in the first inventory of the museum English Horn, 18th Century, Term, Two By Two, Museum

English Horn

18th Century

Term

Two By Two

Museum

The English horn is not a horn nor is English. It belongs to the family of oboes and the term horn probably comes from the fact that in the 18th century this instrument had a very large metal bell, like those of the horns. The adjective “English” is probably due to an old translation mistake of the German term “engelisches Horn”, the loss of the second "e" transforms the instrument from angelic (engelische) to English (englische). This instrument (no inv 414) in the first inventory of the museum

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Instrument with conical bore and piriform pavilion, the musette or piccolo oboe or oboe musette is the smallest instrument of the family of oboes. Built by Jean-François Martin (1794-1876) in the middle of the 19th century, it is made out of boxwood with horn elements. A very elegant shape, with a very high level of craftsmanship, despite the average quality of the wood (large presence of knots), this piccolo oboe has interesting elements of study. It is probably an instrument built by an appren Couture, High Level, Pavilion, Making Out, Average

Couture

High Level

Pavilion

Making Out

Average

Instrument with conical bore and piriform pavilion, the musette or piccolo oboe or oboe musette is the smallest instrument of the family of oboes. Built by Jean-François Martin (1794-1876) in the middle of the 19th century, it is made out of boxwood with horn elements. A very elegant shape, with a very high level of craftsmanship, despite the average quality of the wood (large presence of knots), this piccolo oboe has interesting elements of study. It is probably an instrument built by an appren

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Built just after the opening of the Museum (probably in 1896), this straight wind-cap shawm called «Hautbois du Poitou» is a copy of an older instrument. Built in boxwood, it consists of three parts: cap, body and pavilion. The body has 7 holes plus the thumb hole, while the cup-shaped pavilion has two resonance holes. Made by an anonymous author who was part of the Museum’s founder’s circle, it has an iron mark with the Museum name and with its inventory number (as it was customary at that time Anonymous, Thumb, Wind

Anonymous

Thumb

Wind

Built just after the opening of the Museum (probably in 1896), this straight wind-cap shawm called «Hautbois du Poitou» is a copy of an older instrument. Built in boxwood, it consists of three parts: cap, body and pavilion. The body has 7 holes plus the thumb hole, while the cup-shaped pavilion has two resonance holes. Made by an anonymous author who was part of the Museum’s founder’s circle, it has an iron mark with the Museum name and with its inventory number (as it was customary at that time

Le Musée des Instruments à vent

Le Musée des Instruments à vent

The oldest bass clarinet of the collection, acquired in 1900, is signed Chapelain Fernand et Cie. The body is made out of ebony, while pavilion and bocal are in maillechort. It is equipped with a Boehm system. The Chapelain workshop was active in La Couture-Boussey between 1890 and 1917, the year when it was acquired by Robert Siour, becoming Siour-Chapelain. The iron mark , "FERNAND / Chapelain / & Cie", in a dotted oval surmounted by a rooster, was deposited on August 08, 1907 at the Commercia August 08, Bass Clarinet, Cie, Ebony, Rooster, Robert, Workshop

August 08

Bass Clarinet

Cie

Ebony

Rooster

Robert

Workshop

The oldest bass clarinet of the collection, acquired in 1900, is signed Chapelain Fernand et Cie. The body is made out of ebony, while pavilion and bocal are in maillechort. It is equipped with a Boehm system. The Chapelain workshop was active in La Couture-Boussey between 1890 and 1917, the year when it was acquired by Robert Siour, becoming Siour-Chapelain. The iron mark , "FERNAND / Chapelain / & Cie", in a dotted oval surmounted by a rooster, was deposited on August 08, 1907 at the Commercia

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Small boxwood clarinet (inv. 783) built by Jean-François Martin (1794-1876). It is in a very interesting state of conservation: the absence of the keys could make us think to a damage or a loss, while a more attentive analysis shows the absence of the holes. The Instrument was intentionally not completed, perhaps made for an exhibition. It was probably acquired to document the manufacturing techniques and steps considered necessary as part of the vocational training of the young workers. Very Interesting, Clarinet, Conservation, Analysis, Completed, Exhibition

Very Interesting

Clarinet

Conservation

Analysis

Completed

Exhibition

Small boxwood clarinet (inv. 783) built by Jean-François Martin (1794-1876). It is in a very interesting state of conservation: the absence of the keys could make us think to a damage or a loss, while a more attentive analysis shows the absence of the holes. The Instrument was intentionally not completed, perhaps made for an exhibition. It was probably acquired to document the manufacturing techniques and steps considered necessary as part of the vocational training of the young workers.

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Entered in the collection on October 27, 1896, as witnessed in the historical inventory of the museum, this clarinet was described as "Made after model" . The inventory also mentions "Curious specimen of clarinet, originally made and offered by Mr Lenoir Emile, Juliot Napoleon and Dumoulin Jules". It is interesting to notice the connection between the birth of the museum and the common effort of the makers of La Couture-Boussey to enrich its collections. The original instrument probably belonged Lenoir, October 27, Napoleon, Jules, Specimen, Effort, Birth

Lenoir

October 27

Napoleon

Jules

Specimen

Effort

Birth

Entered in the collection on October 27, 1896, as witnessed in the historical inventory of the museum, this clarinet was described as "Made after model" . The inventory also mentions "Curious specimen of clarinet, originally made and offered by Mr Lenoir Emile, Juliot Napoleon and Dumoulin Jules". It is interesting to notice the connection between the birth of the museum and the common effort of the makers of La Couture-Boussey to enrich its collections. The original instrument probably belonged

Le Musée des Instruments à vent

Le Musée des Instruments à vent

The Marigaux clarinet, model RS Symphonie (No 1015 series), conceived and realized in collaboration with Roland Simoncini, 1st soloist of the Orchestre National de France, represents a phase in the history of Marigaux: traditionally an oboe manufacturer, the company produced clarinets between the 1980s and about 2001. The RS Symphonie was the highest-end model instrument for professional musicians. It is the only Marigaux clarinet in the collections. Acquisition 2019 Clarinets, Roland, 1980s

Clarinets

Roland

1980s

The Marigaux clarinet, model RS Symphonie (No 1015 series), conceived and realized in collaboration with Roland Simoncini, 1st soloist of the Orchestre National de France, represents a phase in the history of Marigaux: traditionally an oboe manufacturer, the company produced clarinets between the 1980s and about 2001. The RS Symphonie was the highest-end model instrument for professional musicians. It is the only Marigaux clarinet in the collections. Acquisition 2019

Le Musée des Instruments à vent

Le Musée des Instruments à vent

The clarinet Professional series by Robert Malerne, has been built in the 1970s prior to the acquisition of the company by Marigaux in 1975. Robert Malerne opened his company at the end of 1931, restarting the activities of Louis Léon Lebret (1888-1932), golden medal in 1897 and former worker of Louis Lot. The oboe, flutes and clarinet company counted about hundred workers and the instruments were regularly exported to the United States. Acquisition 2019 Flutes, Medals, Worker, United States

Flutes

Medals

Worker

United States

The clarinet Professional series by Robert Malerne, has been built in the 1970s prior to the acquisition of the company by Marigaux in 1975. Robert Malerne opened his company at the end of 1931, restarting the activities of Louis Léon Lebret (1888-1932), golden medal in 1897 and former worker of Louis Lot. The oboe, flutes and clarinet company counted about hundred workers and the instruments were regularly exported to the United States. Acquisition 2019

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Clarinet LX Leblanc. 1986-1992. La Couture-Boussey (no inv. N/A). Ebony body, silver-plated key work. This model is the last developed by Léon Leblanc who definitively retired from the manufacturing industry in 1993. It is a “testament” instrument, the result of his almost 80-year experience as musician and maker. 80 Years, Silver Plate, Musician, Manufacturing, Music

80 Years

Silver Plate

Musician

Manufacturing

Music

Clarinet LX Leblanc. 1986-1992. La Couture-Boussey (no inv. N/A). Ebony body, silver-plated key work. This model is the last developed by Léon Leblanc who definitively retired from the manufacturing industry in 1993. It is a “testament” instrument, the result of his almost 80-year experience as musician and maker.

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Le Musée des instruments à vent retains more than 160 diplomas awarded to the concert bands (Harmonie l’Industrie and Harmonie Libre) of La Couture-Boussey, proof of their quality, during the golden age of regional, national and international music competitions that took place in France in the 19th and early 20th century. First prizes or gold medals and rewards for solo performance, sight reading, or execution. Saint Nazaire, Solo Performance, Early 20th Century, Prizes, Regional

Saint Nazaire

Solo Performance

Early 20th Century

Prizes

Regional

Le Musée des instruments à vent retains more than 160 diplomas awarded to the concert bands (Harmonie l’Industrie and Harmonie Libre) of La Couture-Boussey, proof of their quality, during the golden age of regional, national and international music competitions that took place in France in the 19th and early 20th century. First prizes or gold medals and rewards for solo performance, sight reading, or execution.

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Le Musée des instruments à vent retains more than 160 diplomas awarded to the concert bands (Harmonie l’Industrie and Harmonie Libre) of La Couture-Boussey, proof of their quality, during the golden age of regional, national and international music competitions that took place in France in the 19th and early 20th century. First prizes or gold medals and rewards for solo performance, sight reading, or execution. First Prize, Golden Age

First Prize

Golden Age

Le Musée des instruments à vent retains more than 160 diplomas awarded to the concert bands (Harmonie l’Industrie and Harmonie Libre) of La Couture-Boussey, proof of their quality, during the golden age of regional, national and international music competitions that took place in France in the 19th and early 20th century. First prizes or gold medals and rewards for solo performance, sight reading, or execution.

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Le Musée des instruments à vent retains more than 160 diplomas awarded to the concert bands (Harmonie l’Industrie and Harmonie Libre) of La Couture-Boussey, proof of their quality, during the golden age of regional, national and international music competitions that took place in France in the 19th and early 20th century. First prizes or gold medals and rewards for solo performance, sight reading, or execution.

Le Musée des instruments à vent retains more than 160 diplomas awarded to the concert bands (Harmonie l’Industrie and Harmonie Libre) of La Couture-Boussey, proof of their quality, during the golden age of regional, national and international music competitions that took place in France in the 19th and early 20th century. First prizes or gold medals and rewards for solo performance, sight reading, or execution.

Le Musée des Instruments à vent

Le Musée des Instruments à vent

Le Musée des instruments à vent retains more than 160 diplomas awarded to the concert bands (Harmonie l’Industrie and Harmonie Libre) of La Couture-Boussey, proof of their quality, during the golden age of regional, national and international music competitions that took place in France in the 19th and early 20th century. First prizes or gold medals and rewards for solo performance, sight reading, or execution.

Le Musée des instruments à vent retains more than 160 diplomas awarded to the concert bands (Harmonie l’Industrie and Harmonie Libre) of La Couture-Boussey, proof of their quality, during the golden age of regional, national and international music competitions that took place in France in the 19th and early 20th century. First prizes or gold medals and rewards for solo performance, sight reading, or execution.

Le Musée des Instruments à vent

Le Musée des Instruments à vent