The music is recorded on a cylinder with pins. The interior is divided into three compartments: the first contains the crank and the mechanism that operates the cylinder with pins, the second - the cylinder with pins and vibrating lamellae, and the third - two levers for starting and stopping the melody. The cylinder holds seven melodies by W.A. Mozart, which are played through the vibration of steel teeth arranged in a comb, whose tips are adjacent to the cylinder. The lid of the box features floral marquetry on its outer surface. This cultural asset is classified under the "Tezaur" category.
The Story of Musical Boxes
Musical boxes originated in Switzerland at the end of the 18th century. In 1796, watchmaker Antoine Favre-Salomon invented a pocket watch with an incorporated musical mechanism, using the principle of tuned metal lamellae. The invention quickly spread, soon leading to the creation of musical boxes independent of watches.
Initially invented and built for the salon entertainment of the aristocracy, musical boxes quickly evolved, capturing the market and public interest with these entertainment machines. The musical box industry was predominantly centered in Switzerland. Geneva remains the cradle of the musical box, even though the art of crafting these musical wonders spread to other regions of Switzerland - such as Jura, Auberson, and Sainte Croix - and later to other countries, including France, Germany, and Czechoslovakia. Some of the most notable manufacturers of musical boxes include: Mermod Frères, Paillard, Reuge, Thorens, Cuendet, Junod, Nicole Frères, Ducommun-Girod, Brémond, and L'Epee.
The musical box operated on a relatively simple principle: a cylinder with pins (cylindrical pins) would, through rotation, actuate a metal "comb" tuned to specific musical notes, both being concealed from view in one of the box's compartments. By turning the cylinder - with the help of a spring mechanism (similar to that of watches) - the pins would strike the steel "teeth" of the comb, causing them to vibrate and produce different musical notes. A musical box could have a limited number of melodies "programmed" onto the cylinder - from 4 to 12.
Over time, the cylinders were replaced with interchangeable metal discs. Based on this operating principle, large musical boxes emerged in cafés and taverns, which could be activated by inserting a coin, allowing users to select their preferred disc.
Besides the ingenious mechanism, musical boxes also stood out for the artistry of their exterior decorations, featuring materials such as precious woods, mother-of-pearl, ivory, and metal.
The decline of musical boxes began with the invention of the phonograph (1877) and the gramophone (1887). Production continued for a while, but by the early 20th century, most renowned companies had abandoned the business and started manufacturing other mechanical musical instruments.
Tyragetia, serie nouă, vol. X [XXV], nr. 2, Istorie. Muzeologie
Keywords: Dimitrie Cantemir, Edmond Ciuntu, Mikhail Ostrovsky, Ion Dic, the Greek Monastery of St. Nicholas, the People's Commissariat of Foreign Affairs of the USSR, Moscow, Romania.
Abstract: Frequently not only lifetime, but the posthumous biography of any historical figure becomes overgrown by numerous myths, legends and mysteries. The biography of the outstanding thinker of the first quarter of the 18th century, the Moldavian ruler Dimitrie Cantemir was no exception.
The current publication is dedicated to the research of one of the least developed areas of Cantemirology - the study of the authenticity of the Moldavian prince's remains, which were transferred by the USSR Government to Romania and reburied in Iași in June 1935.
On the basis of numerous archival documents taken from the archives of the ministries of Foreign Affairs of the Russian Federation and Romania, for the first time introduced into the scientific use, the author convincingly and gravely substantiates a version that that the transferred remains do not belong to Dimitrie Cantemir.
List of illustrations: Fig. 1. Nicolae Iorga, Nicolae Titulescu and the members of the governmental commission meet the coffin with the remains of D. Cantemir. Constanța, June 1935. Fig. 2. The letter of thanks signed by N. Titulescu, Minister for Foreign Affairs of Romania, addressed to M. Ostrosky, the Ambassador of the Soviet Union in Romania, in connection with the transfer of the remains of Dimitrie Cantemir. Fig. 3. Project of the building of the People's Commissariat for Heavy Industry. Authors: A. Vesnin, V. Vesnin, S. Lyashenko. 1934. Fig. 4. Project of the building of the People's Commissariat for Heavy Industry. Authors: I. Fomin, P. Abrosimov, M. Minkus. 1934.
Victor Țvircun
Unknown pages from the biography of Ivan Ilyinsky-Yaroslavets, secretary of Dimitrie Cantemir
Tyragetia, serie nouă, vol. XVII [XXXII], nr. 2, Istorie. Muzeologie
Виктор Цвиркун
Unknown pages of the biography of C.A. Cantemir
Tyragetia, serie nouă, vol. XIII [XXVIII], nr. 2, Istorie. Muzeologie
Виктор Цвиркун
Anna Cantacuzino-Sheremeteva: Unknown pages of biography
Tyragetia, serie nouă, vol. XV [XXX], nr. 2, Istorie. Muzeologie
The music is recorded on a cylinder with pins. The interior is divided into three compartments: the first contains the crank and the mechanism that operates the cylinder with pins, the second - the cylinder with pins and vibrating lamellae, and the third - two levers for starting and stopping the melody...
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.