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                <text>Musical glass created by Percy Grainger, c. 1930s</text>
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                <text>There are 80 musical glasses in the Grainger Museum Collection, which were created by Ella and Percy Grainger in the 1930s for use in performances of Tribute to Foster and Norse Dirge. Ella and Percy sourced the glasses from many different manufacturers, looking for glasses that could be played at one of six pitches: C sharp, D sharp, E sharp, F sharp, G sharp, A sharp, in several octaves. &#13;
&#13;
The 'out of tune' glasses were deliberately included with the pitched glasses, to enrich the aural effect.&#13;
&#13;
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                <text>early 1930s</text>
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                <text>R. H. Mayland &amp; Son, New York, USA (instrument makers)&#13;
Metal marimba, early twentieth century&#13;
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                <text>Grainger used this marimba for performances of his &lt;em&gt;Tribute to Foster&lt;/em&gt;, exploiting the design innovation that enabled single notes and resonators to be removed from the instrument for playing individually. Grainger wrote instructions, such as ‘violin II, desk I on A# key’, on the side of many resonators, indicating which bar should be used by which string desk in the orchestra. The Rowland H. Mayland Company manufactured a wide variety of musical bells and novelties, including xylophones, pitched sleighbells, and marimbaphones.</text>
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                <text>early 20th century</text>
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                <text>Percy Aldridge Grainger, In a Nutshell Suite, No.2 ‘Gay but wistful’, for orchestra, piano and Deagan percussion instruments. </text>
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                <text>Ella Grainger, Self-Portrait</text>
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                <text>Ella Grainger became an expert player of her husband’s compositions using the bells and steel marimba, under Percy’s tutelage, despite having no formal musical training. She played the bells on tours across America in the period 1929-33, and in Australia and New Zealand in 1934-35.  In this painting she is wearing one of the items of towel clothing that she and Percy created in the 1930s (see object accession number 04.5382)</text>
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                <text>Ella Grainger (née Ström) (artist) </text>
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                <text>c.1941</text>
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                <text>Percy and Ella Grainger preparing for Adelaide performances of Percy Grainger’s compositions, August 1934</text>
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                <text>Audience interest in the compositions of Australia’s celebrated composer-pianist Percy Grainger was immense, and his tours in Australia in 1934 and 1935 are typical. His 1934 tour included performances of In a Nutshell Suite, To a Nordic Princess, and Blithe Bells. The innovative use of percussion fascinated local audiences. &#13;
&#13;
This photograph was reproduced in the Adelaide Advertiser, 9 August 1934, with the caption: “Mr and Mrs Percy Grainger, who will take part in the concert of the South Australian Orchestra on Saturday, with an aluminium marimba and special set of bells. Mrs Grainger will play both instruments during the concert, while her husband conducts the orchestra.” &#13;
&#13;
The concert was a great success, described by local papers as “a thrilling evening, almost like a first night at the theatre”.  The Adelaide News noted that “Many unusual effects were introduced by xylophone, marimba, and staff bells, played by Ella Grainger...not often heard, if ever before, by Adelaide audiences.”&#13;
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                <text>Unknown photographer</text>
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                <text>Lynch Family Bellringers, Glassophonists, Instrumentalists, Vocalists &amp; Comedians poster, 1920s</text>
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                <text>The Lynch Family were renowned for using many unusual instruments, including handbells, organ chimes, glasses, and a metallophone (‘the Marimba Resonators’).  This latter instrument, described as ‘the only instrument of its kind in the world’, is an example of the innovations that were happening in tuned percussion in this period. The actual metallophone — or one very much like it — is on display in the exhibition.</text>
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                <text>F. W. Niven Pty. Ltd., Melbourne (printer)</text>
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                <text>Grainger Museum Collection, Gift of Christine Fryer, 2000. 01.2043</text>
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                <text>Set of staff bells (detail), 1916</text>
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                <text>Set of staff bells (detail), 1916; made by J.C. Deagan Inc. (Chicago) and Percy Aldridge Grainger</text>
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                <text> J.C. Deagan Inc. (Chicago) and Percy Aldridge Grainger</text>
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                <text>1916</text>
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                <text>Photograph Peter Casamento</text>
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                <text>Opera score for Madama Butterfly by Giacomo Puccini, signed by Nellie Melba, 1904</text>
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                <text>Objects of Fame: Nellie Melba and Percy Grainger</text>
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                <text>Melba claimed to have encouraged Puccini to see the play on which his opera Madama Butterfly is based. She studied the title role with him, as well as that of Tosca, however she never performed either role.</text>
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                <text>Published by G. Ricordi &amp; Co., London</text>
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne</text>
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                <text>1904</text>
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                <text>Arts Centre Melbourne</text>
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1977.001.053 | Gift of Pamela, Lady Vestey, 1977</text>
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            <name>Title</name>
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                <text>Annotated opera score for Lohengrin by Richard Wagner, signed Nellie Armstrong, Paris, 22 April 1887</text>
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                <text>Objects of Fame: Nellie Melba and Percy Grainger&#13;
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                <text>This opera score was inscribed prior to Melba’s adoption of her famous stage name in December 1887. A derivation honouring her native city of Melbourne, the name was selected to sound Italian and be easily remembered.&#13;
&#13;
Despite her success as Elsa in Lohengrin, Melba’s voice was not suited to heavy Wagnerian operas. After her disastrous attempt at singing Brünnhilde in Siegfried in 1896, she stopped performing these roles.</text>
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                <text>Royal Edition, Boosey &amp; Co, London </text>
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
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                <text>Grainger Museum</text>
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                <text>22 April 1887</text>
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                <text>Arts Centre Melbourne&#13;
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                <text>Australian Performing Arts Collection, Arts Centre Melbourne&#13;
1981.024.001 | Gift of Pamela, Lady Vestey, 1981</text>
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