Waarom worden historische instrumenten gerestaureerd? Jeannine Lambrechts-Douillez Ere Conservator van de Oudheidkundige Musea van de Stad Antwerpen

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1 Waarom worden historische instrumenten gerestaureerd? Jeannine Lambrechts-Douillez Ere Conservator van de Oudheidkundige Musea van de Stad Antwerpen

2 Restauratieproblemen van Antwerpse klavecimbels Museum vleeshuis mei 1970 Martin Skowroneck: Zu welchem Zweck und Ziel, mit welcher Absicht werden historische Musikinstrumente restauriert? Es mag seltsam erscheinen, wenn ich ausgerechnet hier vor Ihnen eine solche Frage stelle. Sie klingt primitiv und überflüssig.

3 So überflüssig dass sie - wie es mir erscheint - sehr oft gar nicht gestellt wird. Unsere Arbeit an historischen Saitenklaviern ist eingebettet in ein allgemeines und unverbindliches Gefühl von kulturell wertvollem Erhalten und Pflegen von Kunstwerken. Die fragen, die uns ernsthaft beschäftigen, sind eher technischer als grundsätzlicher Natur. Doch hängen beide, grundsätzliche und technische, untrennbar zusammen.

4 Was founded in 1946 for the study of the History Construction Development Use of musical instruments

5 Catalogus van 1894 met 1145 items Un instinct naturel, un caprice, l'idée qu'il est utile, pour un simple amateur Connaître le maniement et l'emploi des divers instruments de musique afin de mieux comprendre leurs fonctions dans un ensemble pouvoir mieux apprécier le talent de ceux qui en jouent L'envie me prit alors d'apprendre quel parti on avait put tirer autrefois de ces vieux engins"

6 The Keyboard String Instruments at the Disposal of Domenico Scarlatti: Organology has always been looked at slightly askance (with suspicion) Not so much by practical musicians and by performance practice But by many musicologists, who seem to feel uncomfortable in the presence of organologists

7 In some cases they display an unbelievable ignorance of the field Very seldom see its problems, its results and its connections with other fields of musicology... I have tried to demonstrate in the first place that there are, indeed, connections with musicology in the second place that some musicological conclusions can only be made from organological facts.

8 The wellsprings of music", edited posthumous in 1962 by Jaap Kunst We cannot escape from the culture that we ourselves have made. Seeing and weighing the differences between two musical worlds might help us in realizing our gain is our loss that our growth is our wane. Help to understand that we have not progressed, but simply changed. From a cultural viewpoint, we have not always changed for the better.

9 International Council of Museums Oprichting 1945 Nationale comités Meer professionele aanpak door opgeleide vorsers. Oprichting van Internationale comités Education Documentation Conservation Museology

10 The preservation and restoration of cultural properties consult different natural and human sciences and techniques that can help with the study and preservation of the cultural property Elements that are part of the monument such as sculpture and paintings can only be removed when this is the only way of preserving them

11 Definition: 1983 Must work as part of a team. Just as the surgeon cannot be simultaneously radiologist, pathologist and psychologist, the conservator-restorer cannot be an expert in art or cultural history, chemistry, and or other natural or human sciences. The work should be complemented by the analytical and research findings of scholars Interdisciplinary dependence is of paramount importance

12 The International Institute for Conservation - Canadian Group (IIC) Responsibility of the conservator Acting alone or with others Strive constantly to maintain a balance between the need of society to use cultural property and the preservation of that cultural property.

13 All actions must be governed by a respect for the physical historical aesthetic integrity of the property Strive to attain the highest standards in all aspects of conservation Examination Treatment Research Documentation Training

14 Recognize his or her limitations and the special skill of others Contributing to the evolution and growth of the profession by continuing to develop knowledge and skills by sharing this information and experience with colleagues Respect the integrity of fellow conservators and of the conservation profession as a whole.

15 1. Balance between needs of society on one side and preservation on the other 2. Claiming respect for the physical, historic and esthetic integrity 3. Demanding highest standards in training, examination, treatment, research and documentation 4. The recognition of ones limitations 5. Sharing information and experience with colleagues in order to promote a knowledgeable profession 6. Respect for the integrity of fellow conservators.

16 Comité international pour les musées et collections d'instruments de Musique Founded Recommendations for regulating the Access to musical instruments in Public collections 1993 Recommendations for the Conservation of musical instruments: an annotated bibliography

17 Destruction of the intrisic value of musical instruments by over-restoration Inability or an unwillingness of individuals to share responsibility and expertise. Preservative or restorative treatment of any object is the province of : Curators and Conservators Historians Instrument makers.

18 Decisions concerning large and complex treatments Which may significantly alter historical objects Taken only after extensive consultation with appropriate specialists.

19 Opgericht kort na 2 e wereldoorlog Archief en Centraal Laboratorium ACL Brussel Initiatief van Professor Cooremans

20 Onroerend Patrimonium Architectenopleiding Roerend Patrimonium Opleiding gewenst Een strakke code kan nooit opgelegd worden als overheidsargument

21 Restauratie van muziekinstrumenten blijft delicaat probleem Zolang ze niet behandeld worden met hun instrinsieke kenmerken als klankproducerende creatie Met respect voor zijn schepper.