The Hans Adler Collection

Hans Adler's wish in donating part of his collection of rare scores, models, albums and instruments, as his widow Gertrude Adler wrote "to inspire future generations of music students and lovers of music".

The Hans Adler Music Collection is a collection of historic musical instruments, scores and texts housed within the Wits Music department and the William Cullen and Wartenweiler Libraries.  

Hans Adler's wish in donating part of his collection of rare scores, models, albums and instruments, as his widow Gertrude Adler wrote "to inspire future generations of music students and lovers of music". The dynamic Hans Adler made his Johannesburg home a centre for classical music ranging from his interests in incunabula and rare antique scores and instruments to the chamber works of post-war composers. Wits is proud to be home to part of that collection. 

Hans Adler, who donated the Bertolotti harpsichord that is the object of scrutiny, would be very pleased. His wish in donating part of his collection of rare scores, models, albums and instruments, was, as his widow Gertrud Adler wrote “to inspire future generations of music students and lovers of music.” The dynamic Hans Adler made his Johannesburg home a centre for classical music ranging from his interests in incunabula and rare antique scores and instruments to the chamber works of post-war composers. Raised in a home filled with music, his mother had performed with Brahms and Tchaikovsky and his first piano teacher was a pupil of Clara Schumann, Hans Adler brought his love of music as a not so secret import with him when immigrating to South Africa in 1933. 

He succeeded the legendary Percival R Kirby as chairman of the Johannesburg Musical Society and applied his business mind to channelling international musicians through Johannesburg to performances as far afield as Kenya and Mauritius. His tireless work drew leading figures to his events. In the collection donated to Wits is a letter from Gabon in which Dr Albert Schweitzer regrets that he is unable to visit. John Ogdon and Julian Dawson-Lyell both wrote short pieces dedicated to him, also part of the collection. His work as impresario culminated in the 1971 visit by Karlheinz Stockhausen. 

In recognition of decades-long service to music, Wits conferred an honorary doctorate on Hans Adler in 1978. Following this he made his generous donation shortly before his passing in 1979. In terms of instruments alone the collection includes the Bertolotti and Landowska harpsichords, a seventeenth century two-manual Italian harpsichord, a rare clavicytherium (a vertical clavichord) and travelling piano form the nineteenth century, among others. The Wits Music Division continues to honour his memory and the spirit of broad-ranging musical interests by maintaining the collection and using it as a teaching tool to introduce aspects of historically informed performance practice and historical musicology. 

Key instruments of the Collection 
The Hans Adler Music Collection consists of numerous documents, musical scores and rare musical instruments. The instruments within the collection form an interesting archive of early keyboard and other musical traditions and practices.  

Wanda Landowska Harpsichord: This German harpsichord is dated from the 16th century and is a noteworthy instrument for two reasons: firstly, due to the painting found within its lid, attributed to the Italian painter and sculptor Andrea del Verrocchio. Secondly, this instrument belonged to the famed harpsichordist Wanda Landowska and was the instrument on which she performed key harpsichord recitals. It has notable oak carvings around the body of the instrument and three stop-slides placed to the right of the keyboard.?The instrument was sold through the Parisian antique dealer Alain Vian to Hans Adler.  

Alexander Bertolotti Harpsichord: This harpsichord is believed to have been built by the Venetian instrument maker Alessandro Bertolotti in the 1580s. The instrument was purchased by Hans Adler in 1969 and though the keyboard was renovated at the time, the painted casing, soundboard and rose are believed to be from the late 1500s. 

Two-manual Italian Harpsichord: Possibly dating from the late 17th century, this harpsichord was rebuilt by a French instrument maker in the 18th century. The painting on the inside of the lid is believed to be in a Flemish style. The instrument was bought by Hans Adler at Sotheby’s.  

Clavicytherium: This rare upright clavichord was purchased in 1965. Its origins are disputed as some details around its provenance have emerged from a dubious Francolini catalogue (dated around 1900). This documentation states that the clavicytherium was allegedly made by Petrus de Paulus, though there is no evidence that this individual existed. As with the Landwoska harpsichord, this instrument was bought by Alain Vian, based in Paris. It appears that the instrument is much more recently constructed (than the stated late 1500s) and was assembled from numerous parts and sources. Notable is the Latin inscription on the doors and the carved angel detail.  

Square Piano: This instrument is dated from 1725 and came from the estate of the cellist and composer Gaspar Cassado. It was purchased by Hans Adler in 1969. It is believed that the instrument was from Naples but was reconditioned in England in 1730. This provenance and refurbishing date require further examination and research, as square pianos came into prominence from 1742 only. 

Broadwood Piano: This piano was manufactured in 1788 by the English Boardwood firm. It was bought at Sotheby’s in 1966 and repaired by Hermann Gertz in Johannesburg after that time. It is believed that this instrument was an early product of John Broadwood’s business. It contains a five-octave keyboard in a mahogany case, with additional ebony and fruitwood detail. 

Player Spinet: John Player (b. 1634 – early 1700s) was a virginal, spinet and harpsichord maker based in London. This instrument has been dated to 1741. Player was known to have experimented with the use of quarter-tone keys and only four other instruments of his have been traced, beyond this example in the collection. This spinet boasts a floral inlaid design and is encased in walnut wood. It was sold at Sotheby’s in 1966. 

Ferdinand Weber Harpsichord: This rare harpsichord was made in Dublin by the instrument maker Ferdinand Weber, a friend of Handel’s. Two similar instruments are housed in the National Museum in Dublin and one at the Brussel’s Conservatoire. It is dated from 1752, repaired by Michael Thomas,  and was bought at Christie’s.  

Travelling Piano: This small and portable piano dates from 1825. It is believed that it was used so that musicians could practice while travelling long distances by stagecoach. The mirror would enable the pianist to monitor their finger movement and facial expressions while playing. It was purchased by Hans Adler in 1970. 
 
Hans Adler’s collection of rare keyboard instruments is on display in the Chris Seabrooke Music Hall building. 

To arrange a visit to the collection at Wits contact Donato Somma at donato.somma@wits.ac.za or Cara Stacey at cara.stacey@wits.ac.za. 
For more on the entire collection visit:  https://hansadlercollection.blogspot.com/
For more on Hans Adler: Musiker, R. (ed.) 1980. Hans Adler Memorial Volume. Wits University Press.