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Kratzenstein built a small pneumatic organ fitted with free reeds, presented it to the Academy and bagged the award. In 1779, the Academy of Science at St Petersburg offered a prize for an essay on the formation of vowel sounds on an instrument similar to the “vox humana” of an organ. The professor was charmed by the free reed, as much by the physics behind it as with the crystal-clear notes it produced.

One had wound its way along the Copenhagen streets and in through the door of Kratzenstein’s house. Marco Polo had introduced the sheng to Europe centuries earlier, and by the 1700s shengs were being brought to Europe in fair quantities. He was fascinated by the sheng, a Chinese free-reed instrument shaped like a vertical pipe. When he was not conducting physiology experiments, Kratzenstein indulged in music. Professor Kratzenstein did not produce a monster his creation was quite the opposite.

She even adapted his surname for her fictional scientist. It is believed that Mary Shelley was so fascinated by his research that he became one of the inspirations for her classic novel, Frankenstein. As an academic, Kratzenstein experimented with the effects of electricity on the human body. The prototype of the harmonium was designed by Christian Gottlieb Kratzenstein, a professor – not of music but physiology – at the University of Copenhagen. To go into the past and locate the precise starting point of an idea or an invention is tricky, but one must start somewhere. The harmonium was conceived in the West, but today largely resides in the East, particularly in the Indian subcontinent so much so that many mistakenly think it to be an Indian instrument. This is the story of a musical instrument that was birthed, died, and was reborn in the 230 or so years of its existence.
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There is some water damage to the bass, and a crack in the oak on the front. There are some fun to read old-timey internet pages out there about this little guy that you should read if you are interested in finding out more. There are two knee switches that act as dampers and a couple of sliders on the top, which I believe highlight the bass or high reeds. Dynamics can be achieved in the amount that you pump, a little for quiet, a lot for loud.
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Two foot pedals pump the bellows full of air so you can play surprisingly loud. Unlatch and opening up the organ to play takes seconds. It went well, but the organ has basically been sitting unused since. I picked this up a couple of years ago to play an acoustic show. One of the last pump organs that Estey built, this model was used by traveling church peoples and military.
