Heldenplatz 100
Tel. 01- 5252 4484
Open: 10am- 6pm Wed- Mon
Subway: Volkstheater, Herrengasse
The Sammlung alter Musikinstrumente (Collection of Historic Musical Instruments), located in the Neue Burg wing of the Hofburg Palace at Heldenplatz, 1010 Vienna, Austria, is one of the world’s most significant repositories of historical musical instruments. Part of the Kunsthistorisches Museum network, this collection, housed in the imperial staterooms, spans five centuries, from the Renaissance to the early 20th century, and includes instruments played by luminaries such as Wolfgang Amadeus Mozart, Clara Schumann, Franz Liszt, and Gustav Mahler. Renowned for its unparalleled holdings of Renaissance and Baroque instruments, as well as Viennese fortepianos and Jacob Stainer string instruments, the museum offers a captivating journey through European music history.
Origins and Habsburg Roots (16th Century–1916)
The Sammlung alter
Musikinstrumente traces its origins to two major Habsburg collections:
Ambras Collection: Initiated by Archduke Ferdinand II of Tyrol
(1529–1595), a passionate art and music collector, this collection,
housed at Ambras Castle in Innsbruck, included exquisite 16th-century
instruments. Due to the Napoleonic Wars, it was transferred to Vienna in
1806 for safekeeping and later stored at Belvedere Palace by 1814.
Obizzi Collection: Originating from the music-loving Obizzi family at
Catajo Castle near Padua, Italy, this late Renaissance and early Baroque
collection was expanded by Marchese Tommaso Gravato degli Obizzi
(1750–1803). It was transferred to Vienna in 1870, inherited by Archduke
Franz Ferdinand, and integrated into the imperial collections after his
assassination in 1914.
In 1916, Julius von Schlosser, a curator,
established the collection as an autonomous entity within the
Kunsthistorisches Museum’s imperial collections, combining the Ambras
and Obizzi holdings. The first exhibition opened in two rooms of the
Neue Burg, followed by a catalog in 1920. After the fall of the
Austro-Hungarian Empire in 1918, the collections became state property
in 1919.
20th Century Developments
1938–1945: Under National
Socialist rule, the collection controversially expanded by incorporating
instruments from the Gesellschaft der Musikfreunde (Society of Friends
of Music) and the Rothschild collection, doubling its inventory. The
lack of formal transfer agreements led to ownership disputes until the
1970s. Viktor Luithlen, a key figure post-1945, was implicated in these
acquisitions, raising ethical questions about his ties to National
Socialism.
1939–1964: Parts of the collection were displayed at
Palais Pallavicini (1939–1947), with a single room in the Neue Burg
reopened in 1947. By 1964, the full range of instruments was exhibited
across multiple rooms, a process completed under curators like Heinrich
Klapsia and Bruno Thomas.
1980s–Present: The collection grew through
purchases, gifts, and loans, adding over 400 items since the 1980s,
including notable donations like Jacob Stainer violins from Dr. Herbert
and Evelyn Axelrod in 2003–2004.
Key Historical Context
Habsburg Musical Patronage: The collection reflects the Habsburgs’ role
as patrons of music, fostering composers like Haydn, Mozart, and
Beethoven, and preserving instruments that shaped Viennese Classicism.
Ethical Concerns: The incorporation of Jewish-owned and institutional
collections during the Nazi era highlights the need for ongoing
provenance research, a focus of modern curatorial efforts.
Centenary
(2016): A symposium marked the collection’s 100th anniversary, exploring
its impact on organological research and the Early Music movement.
Location in the Neue Burg
The Sammlung alter Musikinstrumente is
housed in the Neue Burg, the last major addition to the Hofburg Palace,
built between 1881 and 1913 by architects Gottfried Semper and Carl von
Hasenauer. Located on Heldenplatz, the Neue Burg’s semi-circular,
Historicist facade features Corinthian columns and statues, creating a
grand backdrop for the collection. The instruments are displayed in 12
rooms within the imperial staterooms, originally intended for Emperor
Franz Joseph I and Empress Elisabeth but never occupied due to the
monarchy’s abolition in 1918.
Exhibition Space
Layout: The
rooms are arranged chronologically, spanning from the 1500s to the early
20th century, guiding visitors through the evolution of instrument
design and technology. The linear layout begins with Renaissance
instruments and ends with Romantic-era grand pianos.
Interior: The
staterooms feature marble, stucco, and gilded details, with high
ceilings and large windows that enhance the instruments’ visual impact.
Display cases and free-standing exhibits allow close observation, while
interactive terminals and a shielded room with playable replicas add
engagement.
Access: Entry is via the Weltmuseum Wien (World Museum
Vienna), with a shared ticket covering the Collection of Arms and Armour
and Ephesus Museum. An elevator ensures accessibility, and visitors pass
through the Imperial Armoury en route.
Architectural Significance
The Neue Burg’s opulent interiors, designed for imperial ceremonies,
provide a fittingly regal setting for the instruments, many of which
were commissioned or owned by the Habsburgs. The contrast between the
building’s 19th-century grandeur and the collection’s ancient artifacts
creates a unique atmosphere, blending architectural and musical history.
The Sammlung alter Musikinstrumente houses over 400 instruments, with
a focus on Renaissance, Baroque, and Viennese Classical periods. Its
holdings are globally significant for their rarity, craftsmanship, and
historical associations. Below are key highlights, organized by category
and era:
Renaissance and Baroque Instruments
World’s Most
Important Collection: The museum boasts the most comprehensive
collection of Renaissance and Baroque instruments, including:
Clavicytherium: An upright harpsichord from the 16th century, noted for
its quirky name and design.
Spinet and Regal: Delicate keyboard
instruments from the 1500s, reflecting early European music.
Base
Lute Cittern: A stringed instrument with intricate craftsmanship.
Zinken and Serpent: Wind instruments with fantastical designs, evoking
mythological aesthetics.
Woodwind Instruments: A standout Renaissance
collection, showcasing early oboes, cornetts, and recorders.
Ambras
and Obizzi Holdings: Instruments from Archduke Ferdinand II and the
Obizzi family, including ornate 16th-century pieces, highlight the
Habsburgs’ love of preciosities.
Jacob Stainer String Instruments:
Violins and viols by Stainer (1619–1683), renowned for their
snail-carved scrolls and craftsmanship, rivaling Stradivari. Donated by
the Axelrods in 2003–2004, these are displayed prominently.
Viennese Classicism and Fortepianos
Viennese Fortepianos: A
comprehensive collection of early pianos, central to the soundworld of
Haydn, Mozart, and Beethoven.
Mozart’s Clavichord: Played by Wolfgang
Amadeus Mozart, displayed as a “shrine” to his genius.
Leopold
Mozart’s Violin: Used by Mozart’s father and teacher, a rare personal
artifact.
Beethoven’s Broadwood Piano: Owned by Ludwig van Beethoven,
reflecting his later years despite his hearing loss.
Significance:
These instruments allow visitors to “hear and understand” the sonic
environment of Viennese Classicism, with designs by makers like Graf,
Streicher, and Bösendorfer.
Romantic and 19th-Century Instruments
Schumann-Brahms Fortepiano: Owned by Clara and Robert Schumann, later
used by Johannes Brahms, linking two Romantic giants.
Liszt and
Mahler Pianos: Instruments played by Franz Liszt and Gustav Mahler,
showcasing the evolution of the grand piano.
Anton Karas’ Zither:
Used to perform the iconic theme for the 1949 film The Third Man, adding
a 20th-century cinematic touch.
Grand Pianos: Early 20th-century
models by leading manufacturers, marking the culmination of keyboard
evolution.
Interactive and Playable Elements
Interactive
Terminals: Located in an extra room, these provide detailed information
and audio samples of instruments, enhancing understanding.
Playable
Replicas: In a shielded room, visitors can play copies of historic
instruments, offering a hands-on experience (subject to conservation
restrictions).
Audio Guide: Available in multiple languages (e.g.,
English, German), it includes 20 stops with organological details,
Austrian musical history, and recordings of instruments, making the
collection accessible to non-specialists.
Matinees and Concerts
Matinee Concerts: Regular performances by master musicians use original
instruments (when playable), allowing visitors to hear their authentic
sounds. These rare morning concerts are a highlight, though scheduling
varies.
Significance: These events bridge the gap between display and
performance, bringing the collection to life.
Vienna as Music Capital
Vienna’s legacy as the “City of Music” is
vividly embodied in the Sammlung alter Musikinstrumente. The
collection’s instruments, tied to composers like Mozart, Beethoven, and
Mahler, underscore the city’s role as the cradle of Viennese Classicism
and Romanticism. Its location in the Hofburg, alongside cultural
institutions like the Haus der Musik and Musikverein, reinforces this
identity.
Habsburg Patronage
The collection reflects the
Habsburgs’ cultural patronage, with instruments commissioned for court
music and private enjoyment. The Ambras and Obizzi collections highlight
the dynasty’s role in preserving Renaissance and Baroque artistry, while
later acquisitions connect to the imperial court’s musical life under
Franz Joseph I.
Global Importance
The museum’s Renaissance and
Baroque holdings are unmatched worldwide, offering unparalleled insights
into early European music. Its Viennese fortepianos and Stainer strings
are equally significant, tracing the evolution of instruments central to
Western classical music.
Ethical Reflection
The collection’s
expansion during the Nazi era, particularly through the Gesellschaft der
Musikfreunde and Rothschild acquisitions, raises ethical concerns.
Recent research, supported by the National Fund of the Republic of
Austria, has clarified ownership issues, but the lack of transparency in
1938–1945 transfers remains a critical issue. This history underscores
the importance of provenance studies in modern museology.
Early
Music Movement
The collection has influenced the Early Music movement
by providing authentic instruments for study and performance. Its
matinee concerts and playable replicas contribute to historically
informed performance practices, impacting global musicology.
Critical Perspective
While the collection is a “treasure chest for
music lovers,” its focus on Western classical instruments may limit its
appeal to those interested in non-European or contemporary music. Some
visitors find the displays overly specialized, suggesting a need for
more interactive elements to engage casual audiences. The audio guide’s
technical vocabulary can be daunting, though its music samples mitigate
this. Compared to larger collections in Paris or Berlin, Vienna’s is
more focused but equally prestigious.
Visitor Information
Location and Access
Address: Neue Burg,
Heldenplatz, 1010 Vienna, Austria (access via Weltmuseum Wien).
Public Transport:
Subway: U3 to Herrengasse or Volkstheater; U2 to
MuseumsQuartier.
Tram: 1, 2, D, 71 to Burgring or
Dr.-Karl-Renner-Ring.
Bus: 1A, 2A to Michaelerplatz or Burgring.
Walking Directions:
From St. Stephen’s Cathedral: 10 minutes via
Graben and Michaelerplatz.
From Hofburg Kaiserappartements: 2 minutes
across Heldenplatz.
Parking: Parkgarage Bellaria or MuseumsQuartier
garages.
Visitor Information
Location and Access
Address:
Neue Burg, Heldenplatz, 1010 Vienna, Austria (access via Weltmuseum
Wien).
Public Transport:
Subway: U3 to Herrengasse or
Volkstheater; U2 to MuseumsQuartier.
Tram: 1, 2, D, 71 to Burgring or
Dr.-Karl-Renner-Ring.
Bus: 1A, 2A to Michaelerplatz or Burgring.
Walking Directions:
From St. Stephen’s Cathedral: 10 minutes via
Graben and Michaelerplatz.
From Hofburg Kaiserappartements: 2 minutes
across Heldenplatz.
Parking: Parkgarage Bellaria or MuseumsQuartier
garages.
Visiting Tips
Duration: 1–2 hours for the
instruments; 3–4 hours for all Neue Burg museums.
Best Time: Weekday
mornings or late afternoons to avoid crowds. Check concert schedules for
matinees.
Photography: Non-flash photography permitted; check
specific rules.
Accessibility: Fully accessible via elevator and
platform lift at Weltmuseum Wien. Wheelchair rentals (reserve at +43 1
525 24 5202) and tactile tours for visually impaired visitors available.
Family-Friendly: Free for under 19s; playable replicas and audio guides
engage children, though the collection may appeal more to music
enthusiasts.
Combined Visits: Pair with Weltmuseum Wien, Arms and
Armour, or Ephesus Museum (same ticket). Nearby Hofburg attractions
(Kaiserappartements, Sisi Museum) or Haus der Musik complement the
experience.
Dining: Weltmuseum Wien café in the ground-floor atrium;
nearby options include Café Hofburg or Palmenhaus.
Etiquette: Avoid
touching displays except in the replica room; use headphones for audio
guides to respect other visitors.
Nearby Attractions
Hofburg
Palace: Kaiserappartements, Sisi Museum, Imperial Treasury (2 minutes).
Weltmuseum Wien: Ethnographic collections in the Neue Burg (same
entrance).
Kunsthistorisches Museum: Art collection, 5 minutes away.
Burggarten: Park with Mozart statue, 3 minutes away.
Augustinian
Church: Historic church, 5 minutes away.
The Sammlung alter Musikinstrumente is a cornerstone of Vienna’s
identity as the “City of Music,” preserving instruments that shaped
Western classical music from the Renaissance to the Romantic era. Its
Habsburg origins connect it to the dynasty’s cultural legacy, while its
location in the Neue Burg, an unrealized imperial residence, adds a
layer of historical poignancy. The collection’s global significance lies
in its Renaissance and Baroque holdings, which are unmatched for their
breadth and artistry.
Ethically, the museum grapples with its
Nazi-era acquisitions, a reminder of the need for transparency in
cultural institutions. Its role in the Early Music movement and
organological research positions it as a leader in historical
performance practice, influencing musicians and scholars worldwide.
Critically, while the collection excels for specialists, its appeal to
casual visitors could be enhanced with more interactive or multimedia
elements, as seen in the Haus der Musik. Nonetheless, its integration of
history, artistry, and sound makes it a “musical treasury” for all.