THE ROCK HARMONICON.

New Zealand Colonist and Port Nicholson Advertiser, Volume I, Issue 33, 22 November 1842, Page 4

THE ROCK HARMONICON.

It is pleasing to contemplate the results of intellectual effort, when made amidst all .the advantages that can be commanded : but it is especially so to mark its patient and persevering struggles to accomplish some favorite object, when it can only do so alone and unsustained. An instance of this kind is found in the invention before us—Joseph Richardson, a plain unassuming man, with no refinements of education, hut possessed of musical talent, while working as a mason in Cumberland, discovered that various and melodious sounds were extracted from the rocks amongst which he was accustomed to pursue his daily labors. It then occurred to him that fragments might be collected, and so judiciously arranged, as to form a musical instrument of surpassing sweetness and power. In the year 1827, being employed in building a house at Thornthwaite, and afterwards another at Braithwaite, in the vicinity of Keswick, he began to collect stones for its construction. Those he thus obtained, however, did not answer his purpose, so that at the outset of his undertaking, he lost a large portion of time and labour, and suffered disappointment discourage an ordinary mind. But stimulated by failure to continue his research and toil, he found that the stones best calculated for his. design were only to he met with amongst the rocks of Skiddaw, and on these he expended his future exertions. Animated now by the hope of success, he bore these masses from the mountain on his back to his home at a considerable distance, and there proceeded to reduce them to the shape he considered necessary, and to put to the test tlieir varied tones. This involved an amount of effort not easily estimated: it was made after many a hard day’s f work in the mountains; and often did Richardson deny himself the repose he required, and pass whole nights after his family had retired to rest, pursuing the object on which his heart was set. A considerable share of disappointment must still have been his lot; the stone which promised well would not answer the purpose if hammered and chiselled beyond a certain point; and it may be supposed there were times in which his heart failed him, particularly as a, family of eight children were dependent on his daily labor for support, and his task was continued amidst much weariness and trial. < .

At length, however, his skill and perseverance were rewarded, and after more than thirteen years’ incessant labour, he succeeded in constructing a musical instrument of a very extraordinary character, which is properly called, “ The Rock llarmonicon.” It consists of rough stones, the longest of which is four feet six inches in length, about three inches in breadth, and about an inch and a half in thickness ; and the shortest of which is about six inches in length, an inch in breadth, and half an inch in thickness : these are placed across a pair of wooden bars, covered with twisted straw, and form the keys, like those of a piano-forte; the material of them all being the mica schist, or as it is commonly called, in Cumberland and other places, wliinstone. The means employed to extract their sounds are wooden hammers; small, and of lignum-vitse, for the treble; larger, and of elm or ash, for the middle notes; and larger still, and covered with leather, for the bass. Sometimes, for the centre keys, hammers arc used with two knobs on each, in the form of a crutch-handle, to strike thirds. Those who are acquainted with the toy liarmonicon, consisting of pieces of glass laid on tapes, to be struck with a cork hammer, will readily form an idea of this singular instru-

ment, and the mode in which its "sounds are elicited.'’''

The pieces of stone, it should be remarked, are arranged in two rows; the lower one being tuned in the diatonic scale, and the upper one containing the flats ancl sharps. A piece of music may therefore be played in any key, with the greatest facility and fidelity. Three sons of the inventor perform on the instrument pieces of music in three distinct parts; one playing the melody, the next executing a clever, working inner part, and the third the fundamental bass. Its power extends to a compass of five octaves and a half, accompanied by all the semi-tones, tuned from F below the bass stave to C in altissimo—extending, in fact, as high as the warble of the lark ; down to the deep bass of a funeral bell. The tones produced are equal in quality, and sometimes superior in mellowness and fulness, to those of a fine piano-forte, under the hand of a skilful player. Difficult chromatic ascents and descents are performed with a truly extraordinary brilliancy and crispness. A professor s>f music at Liverpool produced, in conjunction with the sons of the inventor, and also alone, some very pleasing and striking effects. M. Costa, addressing the inventor, says, “ I have been very much gratified with the performance of your three sons'on your very ingenious instrument, and sincerely wish you may be recompensed for your wonderful discovery.” Sir George Smart also writes, “lam happy to offer my testimony in favour of your very clever invention, and think the production of the ‘ Rock Harmonican’ does infinite credit to your perseverance and musical feeling; the tones of the instrument are powerful and beautiful, and I was highly pleased with the performance of your three sons upon it. I sincerely hope your labours will be rewarded, as they richly deserve.”

* It is now exhibiting in Stanley's Rooms, 21, Old Bond Steeet.