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"In 1982, I was
just a young man of 18 when the prototype glass armonica was being
produced. Little did I know then what life had in store for me. Now, 25
years later, I continue to carry on Gerhard's legacy as well as make my
own. Everyday I get to go to work and do what I love, blow glass. Some
days are better than others, but then again, the fusion of Art and
Science will never be simple. I still get chills when I hear a glass
harmonica being played, knowing I had something to do with that.
Recently, I've expanded my talents in glass blowing to include the
fabrication of quartz hand bells. We will see where this new venture
takes me."-
Tom Hession, President, G. Finkenbeiner Inc., November 2007 |
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n
2003, I asked Tom Hession if it would be possible to make a set of
English handbells using glass. He said that he and Gerhard Finkenbeiner
had experimented with glass bells over the years and thought that it
would be worth the effort. I then approached Malmark Handbell Company in
Pennsylvania. They are the company who made the set of bronze bells that
I was already using for solo handbell ringing. They agreed to provide me
with the necessary handles and clappers. Tom did a lot of experimenting
over the months and came up with an amazing sounding 2 octave set of
quartz glass English handbells that are played like the traditional
bronze bells. I hope more bell ringers will want to try quartz glass
English handbells for a new sound.
Click here to listen to
Holy,Holy,Holy on crystal handbells and glass armonica from World Glass.
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The traditional bowed psaltery is a triangular string instrument played
with one or two bows.
It occurred to me that might be possible to make one using common
plate glass since it has a flat top and bottom. I contacted Jim Doble in
Union, Maine who has created incredible glass percussion instruments
using plate glass. He was very gracious to give it a try and the result
was beyond my expectations.
"I find glass is a remarkable sound source. The sound can be remarkably
soft, clear, and resonant. There is often an unusual water-like quality
to the tone which is very relaxing and meditative, a wonderful stress
melter. Strings aren't in my regular line of instruments, as I usually
make mallet percussion. But I was quite happy to apply glass in a new
way (for me). It was a bit challenging to come up with a glass design
which would take the tension of the strings, be able to hold pins, and
have good sound quality."
Jim Doble, Elemental Design LLC
Click here to
listen to Scarborough Fair on glass bowed psaltery from World Glass CD.
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My first experience with the grand harmonicon came from years of
performing in the Hennage Auditorium in the DeWitt Wallace Gallery of
Colonial Williamsburg where there was one on display for many years and
I had occasional access to play it. The music I chose for this CD came
from the 1829 and 1831 editions of "Instructions For The Grand
Harmonicon" by Francis H. Smith. I acquired my Grand Harmonicon at an
auction in 1994 where I was the only bidder on the instrument.
Remarkably it survived since the 1820's with all its original glasses in
perfect condition.
The Harmonicon, although not new in its principles, is yet different
in its construction from all those musical glasses which have heretofore
been exhibited; and competent judges have pronounced it decidedly
superior. It combines great power with extraordinary sweetness and
richness in tone; and is susceptible at the same time of the utmost
variety in its combinations. So soft are its ones, that some have called
it " the Aeolian Harp harmonized," while others on hearing its rich and
powerful tones have been deceived by supposing it a well toned organ.
Though capable of executing the most rapid passages, it is to soft and
plaintive music that it is best adapted; affording a rich treat to
lovers of Scotch and Irish music.
Francis Hopkinson Smith, inventor and maker of the Grand Harmonicon,
1831
"Francis Hopkinson Smith (1797-1872) of Eastville, Virginia obtained
a patent for the version of musical glasses that he called the "Grand
Harmonicon" on April 7, 1825. Smith's glasses (resembling modern bandy
snifters without feet) were blown to pitch in highly resonant lead glass
and then mounted in rows on a sounding board. Smith sought to make his
instrument a fixture in the American parlor, giving numerous concert
demonstrations and advertising that only "a few week's practice will
make a pleasing performer." Grand Harmonicons were accompanied by
instruction books containing Smith's transcriptions of the music that
was popular in America in the 1820's - primarily Scottish, Irish, and
English secular folk tunes and hymns. They also included a few works by
famous composers such as Wolfgang Amadeus Mozart and Carl Maria von
Webber. Chords consisted of only two notes - one note being played by
each hand.
Dean Shostak's performance on a well-preserved Smith harmonicon of
three works transcribed by a Smith treats us to a rare note-for-note
vignette of the music that Americans enjoyed in their homes in the
1820's and 30's -as they heard it."
Gary E. Baker, Specialist in American Glass and Decorative Arts,
November 2007
Click here to
listen to Mozart's Waltz on grand harmonicon from World Glass.
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| In January 2008 I drove up to Plattsburgh, NY (North of
Lake Placid!) where I purchased an antique glass instrument made of very
old glass in a gorgeous custom case. The instrument has been dated
to have been made between 1840 and 1870. I will have pictures of
it on my site soon. |
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