Műtárgyvédelem, 2008 (Magyar Nemzeti Múzeum)
Fabók Balázs: Egy 19. századi magyar zongora restaurálása
IRODALOM Beregszászy Lajos: A magyarországi zongora-gyáriipar állapotáról. Budapest, 1874. Röpirat, nyomatott Khór és Wein Könyvnyomdájában. 40. p. Gábry György: Meisterbuch der Pester Instrumentenmacher-Innung. In: Studia Musicologica. 1962. II., pp. 331-344. Gát Eszter: Pest-Budai zongorakészítők. In: Tanulmányok Budapest múltjából XXIII. Budapest, 1991, pp. 147-259. Gát Eszter: Hangszerész (zongora, cimbalom) szakmai ismeret. Budapest, Műszaki könyvkiadó, 1994. 145. p. Isoz Kálmán: A pesti hangszerkészítő céh megalakulása. In: Zenei Szemle. Budapest, 1926, pp. 114-117. Isoz Kálmán: Hangszerkészítés Pest-Budán a 19. század közepéig. In: A Magyar muzsika könyve. Budapest, 1876, szerk: dr Molnár Imre, pp. 263-268. Williams, John-Paul: A zongora. Budapest, Vince kiadó, 2003, 160. p. A magyar kézműves ipar története, szerk: Szulovszky János, Magyar Kereskedelmi és Iparkamara, Budapest, 2005, 487. p. Conservation of a 19th century Hungarian piano Balázs Fabók The conserved object, a 19th century Pachl piano is in the possession of the Hungarian Music History Museum, its inventory number is 79.17. At the planning of the conservation it had to be clarified that this piano was an object of art of technical historical, music historical and cultural significance, and only then came the musicological value of the musical instrument. The primary objective was to make the object suitable for research and exhibition. It was another natural demand that in a lucky case it should be able to be sounded to illustrate the onetime sounding of the object, unless it seemed harmful to the originality of the instrument. The conservation was carried out with the collaboration of piano maker specialists. The case of the instrument was made from spruce. The arched side was glued together from three spruce boards with rectangular grain directions, inserted into an arched form. The piano was covered with cherry flitch on the outside and maple-wood flitch on the inside. An ornamental walnut inlay decorated the front of the wrest-plank against a cherry background, while a triple strip of maple-walnut-maple woods runs around on the lower parts of the sides. The unhinging and tuning wrest-plates are from laminated maple, and nearly every component of the mechanics is made from maple. Bone glue was used for the gluing of the wooden elements. In effect of the constant stretching force of the strings, the case of the piano was strongly warped. The glue released and certain structural bonds of the case opened. The exterior flitch covers got detached from the base wood at many places, they were medium injured and incomplete. The large lid of the piano was completely missing, just like the two frontal lids and the music-rack. The soundboard cracked at a few places, the fittings got parted and it was strongly warped. Certain elements of the mechanics were missing, others were damaged and a few of the textile elements were replacements from the 20th century. Nine simple copper strings and 31 steel strings were missing. 157
