{"id":5893,"date":"2018-04-07T01:00:26","date_gmt":"2018-04-06T23:00:26","guid":{"rendered":"https:\/\/vichyencheres.wordpress.com\/?p=5893"},"modified":"2022-11-09T10:12:57","modified_gmt":"2022-11-09T09:12:57","slug":"instruments-oublies","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2018\/04\/07\/instruments-oublies\/","title":{"rendered":"Les instruments de musique oubli\u00e9s ont la cote"},"content":{"rendered":"\n
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Cabrette, serpent, ophicl\u00e9ide, bugle, basson\u2026 Non, ces termes ne d\u00e9signent pas des esp\u00e8ces animales en voie de disparition, mais des instruments de musique vieux de plusieurs si\u00e8cles. Tomb\u00e9s dans l\u2019oubli, ils reviennent en force dans les orchestres et font frissonner les salles des ventes. En exclusivit\u00e9, retour sur ces pi\u00e8ces qui ont la cote \u00e0 travers la dispersion samedi 7 avril 2018 \u00e0 Vichy et sur le Live d\u2019Interencheres de deux collections d\u2019instruments \u00e0 vent\u2026<\/p>\nUn article d’Interencheres.com<\/a> <\/a><\/em><\/cite><\/blockquote>\n\n\n\n

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Catalogue<\/a><\/div>\n\n\n\n
R\u00e9sultats<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
English version<\/a><\/div>\n<\/div>\n\n\n\n
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Les instruments historiques int\u00e8grent les orchestres<\/h1>\n\n\n\n
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De la Philharmonie parisienne au Konzerthaus de Berlin, l\u2019orchestre Les Si\u00e8cles<\/a>, sous l\u2019\u00e9gide du chef Fran\u00e7ois-Xavier ROTH, s\u2019est donn\u00e9 un d\u00e9fi d\u00e8s 2003 : jouer chaque r\u00e9pertoire sur les instruments historiques appropri\u00e9s, mettant ainsi en perspective plusieurs si\u00e8cles de cr\u00e9ation musicale. Depuis, la m\u00e9thode a fait des \u00e9mules et les plus grands musiciens l\u2019adoptent, soucieux d\u2019approcher au plus pr\u00e8s les couleurs et le son originels de chaque morceau. \u00ab Ce regain d\u2019int\u00e9r\u00eat a \u00e9t\u00e9 initi\u00e9 par la red\u00e9couverte de la musique baroque. Ensuite, les musiciens se sont mis \u00e0 jouer la musique romantique et celle des autres \u00e9poques avec les instruments d\u2019origine \u00bb, explique Bruno KAMPMANN<\/a>, expert en instruments \u00e0 vent.<\/p>\n<\/div>\n\n\n\n

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D\u00e8s les ann\u00e9es 1950, les chefs d\u2019orchestre et musiciens Gustav LEONHARDT, Nikolaus HARNONCOURT, Sigiswald KUIJKEN, suivis de Ton KOOPMAN ou encore Jordi SAVALL, s\u2019emparent d\u2019anciens clavecins, violoncelles, violes de gambe, ou diapasons et remettent \u00e0 l\u2019honneur les \u0153uvres de BACH, HAENDEL, VIVALDI, et BUXTEHUDE. A rebours du progr\u00e8s permanent, ils affirment ainsi un retour aux sources et pr\u00e9f\u00e8rent \u00e0 l\u2019interpr\u00e9tation moderne, une restitution dans la plus pure tradition. Un nouveau dogme qui gagne d\u00e9sormais le march\u00e9 des instruments anciens, marqu\u00e9 par des prix croissants, touchant notamment les instruments de la fin du XVIIIe et du d\u00e9but du XIXe si\u00e8cle.<\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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Un march\u00e9 particuli\u00e8rement dynamique<\/h1>\n\n\n\n
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\u00ab Ce march\u00e9 est particuli\u00e8rement actif, avec un public qui s\u2019est diversifi\u00e9 ces derni\u00e8res ann\u00e9es \u00bb, commente Ma\u00eetre Etienne LAURENT qui dispersera aux ench\u00e8res le 7 avril \u00e0 Vichy deux collections importantes d\u2019instruments \u00e0 vent : un ensemble de pi\u00e8ces anglaises et une autre collection, plus h\u00e9t\u00e9roclite, comprenant aussi bien des guitares qu\u2019un clavecin, des fl\u00fbtes ou des harpes. Une vente qui t\u00e9moigne du nouveau dynamisme du march\u00e9. \u00ab On retrouve notamment un cor naturel HALARY  (lot N\u00b0 360) estim\u00e9 \u00e0 6 000 euros qui rappelle \u00e0 quel point la demande est forte pour ce type d\u2019instrument. <\/p>\n\n\n\n

\"Cor
N\u00b0 360\nCor naturel de HALARY Frs de l\u2019Empereur\nPeinture pavillon refaite\nAvec neuf tons et un coupleur<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Ils sont tr\u00e8s rares et ils co\u00fbtaient moiti\u00e9 moins il y a encore sept ou huit ans \u00bb, d\u00e9taille l\u2019expert Bruno KAMPMANN<\/a>. Le cor naturel appara\u00eet au XVIII\u00e8me si\u00e8cle pour remplacer le cor de chasse (dit \u00ab cor baroque \u00bb) et animer les soir\u00e9es mondaines. Il inspire alors les compositeurs romantiques les plus illustres, \u00e0 l\u2019image de Johannes BRAHMS (1833-1897) qui s\u2019en fait le grand d\u00e9fenseur lorsque na\u00eet le cor \u00e0 pistons au cours du XIXe si\u00e8cle. Finalement remplac\u00e9 \u00e0 l\u2019aube du si\u00e8cle suivant, il conna\u00eet aujourd\u2019hui un regain d\u2019int\u00e9r\u00eat. \u00ab Les cornets (petits cors) \u00e0 pistons du XIXe sont eux aussi tr\u00e8s recherch\u00e9s. Ils permettent de rejouer la musique romantique de BERLIOZ (1803-1869) notamment. \u00bb Dans la vente du 7 avril, un cornet \u00e0 trois pistons de KOHLER (lot N\u00b0 320) est ainsi estim\u00e9 2 500 euros.<\/p>\n\n\n\n

\"Cornet
N\u00b0 320\nCornet \u00e0 trois pistons \u00e0 disques Shaw \u00abpatent lever\u00bb\nde KOHLER \u00e0 London\nn\u00b01006, avec un ton de si b\u00e9mol\t\t\tSuccession Tomes<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n
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La red\u00e9couverte d\u2019instruments tomb\u00e9s en d\u00e9su\u00e9tude<\/h1>\n\n\n\n
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L\u2019engouement autour de ces instruments d\u2019\u00e9poque est tel que les facteurs actuels se mettent \u00e0 les copier. \u00ab\u00a0Le serpent\u00a0par exemple\u00a0est tr\u00e8s \u00e0 la mode, j\u2019en joue d\u2019ailleurs moi-m\u00eame et\u00a0des copies modernes sont aujourd\u2019hui fabriqu\u00e9es,\u00a0confie l\u2019expert\u00a0Bruno KAMPMANN<\/a>. Celles-ci ont eu tendance \u00e0 faire baisser les prix des pi\u00e8ces anciennes au cours des dix derni\u00e8res ann\u00e9es, mais\u00a0leur cote a toujours \u00e9t\u00e9 particuli\u00e8rement soutenue et elle commence \u00e0 remonter.\u00a0Pour un serpent ancien de bonne qualit\u00e9, il faut donc\u00a0compter autour de 4\u00a0000 euros\u00a0en fonction de l\u2019\u00e9tat, et davantage s\u2019il s\u2019agit d\u2019une pi\u00e8ce exceptionnelle.\u00a0\u00bb Le 7 avril, seront ainsi propos\u00e9s\u00a0un serpent droit en laiton\u00a0(lot N\u00b0 286) estim\u00e9 2\u00a0500 euros\u00a0et\u00a0un autre\u00a0en forme de S, dat\u00e9 du XVIIIe\u00a0et estim\u00e9 2\u00a0000 euros.\u00a0\u00ab\u00a0Le serpent fut cr\u00e9\u00e9 au d\u00e9but du XVIIe si\u00e8cle pour accompagner les ch\u0153urs d\u2019\u00e9glise, avant d\u2019\u00eatre employ\u00e9 \u00e0 la fin du XVIIIe si\u00e8cle pour les chants militaires et r\u00e9volutionnaires. C\u2019est un instrument grave, \u00e0 embouchure comme le tuba.\u00a0Il a \u00e9t\u00e9 peu utilis\u00e9 dans la musique classique, mais mis \u00e0 l\u2019honneur dans une des \u0153uvres majeures de BERLIOZ, la\u00a0Symphonie fantastique\u00a0de 1830.\u00a0\u00bb
Au XIXe si\u00e8cle, le serpent est remplac\u00e9 par l\u2019ophicl\u00e9ide, un instrument m\u00e9tallique muni de cl\u00e9s, permettant de jouer avec une plus grande justesse. Il est alors tr\u00e8s employ\u00e9 dans la musique militaire, d\u2019harmonie et de fanfare jusqu\u2019\u00e0 la Premi\u00e8re Guerre mondiale o\u00f9 il est troqu\u00e9 pour le tuba \u00e0 pistons, plus maniable. \u00a0\u00ab\u00a0L\u2019ophicl\u00e9ide conna\u00eet aujourd\u2019hui un regain d\u2019int\u00e9r\u00eat et la demande pour les pi\u00e8ces anciennes est tr\u00e8s forte\u00a0car,\u00a0au contraire du serpent, peu de copies modernes sont fabriqu\u00e9es,\u00a0explique l\u2019expert.\u00a0Les prix grimpent\u00a0et rejoignent ainsi ceux du serpent qui co\u00fbtait plus cher jusqu\u2019alors.\u00a0Il faut aujourd\u2019hui compter autour de 3\u00a0000 euros pour acqu\u00e9rir un bon ophicl\u00e9ide,\u00a0alors qu\u2019il y a encore sept-huit ans il se vendait autour de 1\u00a0000 euros, quand un serpent s\u2019envolait \u00e0 5\u00a0000 euros.\u00a0\u00bb En t\u00e9moigne, une pi\u00e8ce exceptionnelle de la vente du 7 avril (lot N\u00b0 305), estim\u00e9e 4\u00a0000 euros. \u00ab\u00a0Elle fut fabriqu\u00e9e par le grand facteur lyonnais TABARD et elle est pourvue d\u2019une\u00a0\u00e9tonnante\u00a0t\u00eate de dragon,\u00a0un d\u00e9cor tr\u00e8s appr\u00e9ci\u00e9 au XIXe si\u00e8cle\u00a0\u00bb,\u00a0pr\u00e9cise Ma\u00eetre Etienne LAURENT.\u00a0Un autre\u00a0ophicl\u00e9ide tr\u00e8s rare du facteur anglais GLYDE\u00a0(lot N\u00b0 310) sera \u00e9galement mis aux ench\u00e8res,\u00a0estim\u00e9 \u00e0 1\u00a0000 euros.<\/p>\n<\/div>\n\n\n\n

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\"Serpent
N\u00b0 286\nSerpent franc\u0327ais en bois recouvert de cuir\nXVIIIe\u0300me\nCollection Samoyault<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Ophicl\u00e9\u00efde<\/a>
N\u00b0 305\nOphicl\u00e9\u00efde si b\u00e9mol \u00e0 t\u00eate de dragon polychrome\nneuf clefs de TABARD \u00e0 Lyon\nCollection Samoyault<\/figcaption><\/figure>\n\n\n\n
\"Ophicle\u00efde<\/a>
N\u00b0 310\nOphicle\u00efde si b\u00e9mol, onze clefs,\nestampill\u00e9 T. GLYDE Stalbridge (revendeur)\nSuccession Tomes<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n
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Des prix qui explosent pour les pi\u00e8ces les plus rares<\/h1>\n\n\n\n
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\u00ab Parmi les instruments \u00e0 vent, ce sont les instruments aigus tels que les trompettes, les fl\u00fbtes, ou les clarinettes, qui restent les plus collectionn\u00e9s, poursuit l\u2019expert Bruno KAMPMANN<\/a>. Leurs prix ont connu un l\u00e9ger infl\u00e9chissement, mais ils remontent ces dix derni\u00e8res ann\u00e9es. \u00bb Toutefois, le march\u00e9 des instruments anciens, jouet de l\u2019offre et de la demande, est soumis aux m\u00eames r\u00e8gles que les autres : la raret\u00e9 fait le prix. \u00ab La vente du 7 avril propose de nombreuses pi\u00e8ces tr\u00e8s rares telles qu\u2019un clavecin estim\u00e9 \u00e0 15 000 euros (lot N\u00b0 95) ou une trompe de chasse (lot N\u00b0 355) qu\u2019on ne trouve habituellement que dans les mus\u00e9es.<\/p>\n<\/div>\n\n\n\n

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Cette derni\u00e8re fut fabriqu\u00e9e par la famille CHRESTIEN qui est justement l\u2019inventeur de l\u2019instrument. Elle est estim\u00e9e 5 000 euros, mais elle pourrait bien s\u2019envoler\u2026 \u00bb, d\u00e9taille Ma\u00eetre Etienne LAURENT. Le commissaire-priseur de Vichy voit souvent passer des pi\u00e8ces exceptionnelles et rarissimes, \u00e0 l\u2019image d\u2019un basson fin XVIIIe adjug\u00e9 en juin 2012 \u00e0 plus de 70 000 euros. Sa vente du 7 avril sera une nouvelle occasion de prendre le pouls d\u2019un march\u00e9 en pleine expansion\u2026<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Trompe
N\u00b0 355\nTrompe de chasse deux tours et demi en laiton,\nestampille circulaire de JEHAN CHRESTIEN autour d\u2019un cerf \u00e0 Vernon.\nNombreuses marques au fer fleur de lys sur la guirlande.\nProbablement d\u00e9but XVIII\u00e8me\nCollection Samoyault<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n
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FORGOTTEN MUSICAL INSTRUMENTS OF THE PAST ARE BACK IN FASHION<\/h1>\n\n\n\n
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Cabrette, serpent, ophicleide, bugle, bassoon\u2026 These terms do not refer to endangered animal species, but to centuries-old musical instruments. They had been forgotten but are making a strong comeback in orchestras and creating excitement in auction houses. We take an exclusive look at these sought-after instruments in connection with the sale of two collections of wind instruments on 7 April 2018 in Vichy and on the online platform of Interencheres<\/em>.<\/p>\nAn article from Interencheres.com<\/a>.<\/cite><\/blockquote>\n\n\n\n

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Period instruments are introduced in orchestras<\/h1>\n\n\n\n
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From the Parisian Philharmonie<\/em> to the Berlin Konzerthaus<\/em>, the orchestra\u00a0Les Si\u00e8cles<\/a>, under the direction of Fran\u00e7ois-Xavier ROTH, set itself a challenge in 2003: to play each repertoire on instruments from the corresponding period, therefore challenging several centuries of musical interpretation. Since then, this approach has been adopted by several of the greatest musicians, eager to reproduce as closely as possible the way in which pieces would have sounded originally. \u201cThis renewed interest started with the rediscovery of Baroque music. It encouraged musicians to play the romantic and other repertoires with the type of instruments they were originally performed on\u201d explains Bruno KAMPMANN<\/a>, expert in wind instruments.<\/p>\n<\/div>\n\n\n\n

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From the 1950s, the conductors and musicians Gustav LEONHARDT, Nikolaus HARNONCOURT and Sigiswald KUIJKEN, followed by Ton KOOPMAN and Jordi SAVALL, acquired old harpsichords, cellos, violas da gamba and even tuning forks, in order to bring back to life, in their original form, the works of BACH, HANDEL, VIVALDI and BUXTEHUDE. They went against the idea that progress is always better, and that modern interpretations are better than the original ones, and returned to the source of the music in order to perform these pieces as they would have been heard then. This novel approach resulted in a renewed interest for period instruments and a rise in their prices, particularly instruments from the end of the 18th and the beginning of the 19th century.<\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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A particularly strong market<\/h1>\n\n\n\n
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“This market is particularly strong, and its customer base has become more diverse in recent years” remarks Ma\u00eetre Etienne LAURENT who will be leading the auction on 7 April in Vichy of two important collections of wind instruments: a collection of English instruments and another one, more eclectic, which includes guitars as well as a harpsichord, flutes and harps. This sale attests to the renewed strength of the market. \u201cIt includes, in particular, a natural horn by HALARY (lot N \u00b0 360) estimated at 6,000 euros, which reminds us of how high the demand is for this type of instrument.\u00a0<\/p>\n\n\n\n

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N\u00b0 360\nCor naturel de HALARY Frs de l\u2019Empereur\nPeinture pavillon refaite\nAvec neuf tons et un coupleur<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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They are very rare and they cost half as much seven or eight years ago\u201d explains expert\u00a0Bruno KAMPMANN<\/a>. The natural horn appeared in the 18th century and replaced the hunting horn (known as \u201cBaroque horn\u201d) in providing musical accompaniment to social evenings. It inspired the most illustrious romantic composers, such as Johannes BRAHMS (1833-1897), who became one of its great proponents when the piston horn was born in the 19th century. It was eventually replaced at the dawn of the next century, but is now enjoying a revival. \u201cThe cornets (small horns) with valves from the 19th century are also highly sought after. In particular, they make it possible to play the romantic music of BERLIOZ (1803-1869) as it would have been heard originally. The sale of 7 April includes a KOHLER three-valve cornet (lot No. 320) estimated at 2,500 euros.<\/p>\n\n\n\n

\"Cornet
N\u00b0 320\nCornet \u00e0 trois pistons \u00e0 disques Shaw \u00abpatent lever\u00bb\nde KOHLER \u00e0 London\nn\u00b01006, avec un ton de si b\u00e9mol\t\t\tSuccession Tomes<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n
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The rediscovery of instruments that have fallen into disuse<\/h1>\n\n\n\n
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The enthusiasm for these period instruments is such that contemporary makers are now to make copies of them. \u201cThe serpent, for instance, is very fashionable. I actually play it myself and there are modern copies of it made today,\u201d says expert\u00a0Bruno KAMPMANN<\/a>. These modern copies have brought down the prices of historical instruments over the past ten years, but they have always remained desirable and their prices are starting to rise again. For instance, an old serpent of good quality will cost around 4,000 euros depending on the condition, and even more in the case of an exceptional example. The sale on 7 April will include a straight brass serpent (lot N\u00b0 286) estimated at 2,500 euros, as well as an S-shaped one dating from the 18th century and estimated at 2,000 euros. \u201cThe serpent was created at the beginning of the 17th century to accompany church choirs, before being used at the end of the 18th century for military and revolutionary songs. It is an instrument with a bass voice and a mouthpiece like that of the tuba. Despite being rarely used in classical music, it featured prominently in one of BERLIOZ’s major works, the Symphonie Fantastique<\/em> of 1830.\u201d
In the 19th century, the serpent was replaced by the ophicleide, a metal instrument fitted with keys, allowing musicians to play with greater accuracy. It was widely used then in military, harmony and brass band music until the First World War, when it was replaced by the more practical valve tuba. \u201cThe ophicleide is now experiencing a resurgence of interest and the demand for old examples is very strong because, unlike the serpent, few modern copies of it are being made\u201d, explains the expert. Their prices have increased and reached the levels of that of serpents, which were traditionally more expensive. Today, a good ophicleide will cost you around 3,000 euros, whereas seven or eight years ago it would have sold for around 1,000 euros, while serpents were flying off the shelf at 5,000 euros. This is illustrated by an exceptional instrument in the sale of 7 April (lot N\u00b0 305), estimated at 4,000 euros. “It was made by TABARD, the great maker from Lyon, and it has an astonishing dragon’s head, which was a very popular decorative feature in the 19th century”, explains Ma\u00eetre Etienne LAURENT. Another very rare ophicleide from the English maker GLYDE (lot N\u00b0 310) will also be auctioned, with an estimate of 1,000 euros.<\/p>\n<\/div>\n\n\n\n

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\"Serpent
N\u00b0 286\nSerpent franc\u0327ais en bois recouvert de cuir\nXVIIIe\u0300me\nCollection Samoyault<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n
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\"Ophicl\u00e9\u00efde<\/a>
N\u00b0 305\nOphicl\u00e9\u00efde si b\u00e9mol \u00e0 t\u00eate de dragon polychrome\nneuf clefs de TABARD \u00e0 Lyon\nCollection Samoyault<\/figcaption><\/figure>\n\n\n\n
\"Ophicle\u00efde<\/a>
N\u00b0 310\nOphicle\u00efde si b\u00e9mol, onze clefs,\nestampill\u00e9 T. GLYDE Stalbridge (revendeur)\nSuccession Tomes<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Exponential price rises for the rarest pieces<\/h1>\n\n\n\n
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\u201cAmongst the wind instruments, it is the high pitch instruments, such as the trumpets, the flutes or the clarinets, which remain the most collectible\u201d, as indicates expert\u00a0Bruno KAMPMANN<\/a>.\u00a0Their prices have suffered a slight decline, but they have risen overall over the past 10-year period. The market for antique instruments is subject to the same supply and demand forces as other markets: rarity drives the price. \u201cThe sale of 7 April offers many very rare pieces, such as a harpsichord estimated at 15,000 euros (lot N\u00b0 95) or a hunting horn (lot N\u00b0 355), which would normally only be found in museums.<\/p>\n<\/div>\n\n\n\n

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The latter was made by the CHRESTIEN family, who invented the instrument altogether. It is estimated at 5,000 euros, but it could achieve a hammer price well above that figure”, explains Ma\u00eetre Etienne LAURENT. The Vichy auctioneer often sees exceptional and extremely rare pieces pass through the auction house, such as a late 18th century bassoon sold in June 2012 for more than 70,000 euros. The sale on 7 April will be a new opportunity to take the pulse of a booming market.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Trompe
N\u00b0 355\nTrompe de chasse deux tours et demi en laiton,\nestampille circulaire de JEHAN CHRESTIEN autour d\u2019un cerf \u00e0 Vernon.\nNombreuses marques au fer fleur de lys sur la guirlande.\nProbablement d\u00e9but XVIII\u00e8me\nCollection Samoyault<\/figcaption><\/figure>\n<\/figure>\n<\/div><\/div>\n\n\n\n
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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n