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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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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


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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


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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


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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.


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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

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