Viennese Wind-Instrument Makers, 1700-1800

Author(s): Richard Maunder

Source: The Galpin Society Journal, Vol. 51 (Jul., 1998), pp. 170-191
Published by: Galpin Society
Stable URL: http://www.jstor.org/stable/842766
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 RICHARD MAUNDER

Viennese Wind-instrument
Makers, 1700-1800
INTRODUCTION

A THOUGH many eighteenth-century Viennese brass and woodwind

instruments survive and have been extensively studied and played,
knowledge of the makers themselves remains somewhat sketchy. True,
Schaal's 'Biographische Quellen zu Wiener Musikern und Instrumenten-
machern' and Haupt's 'Wiener Instrumentenbauer von 1791 bis 1815'
contain a certain amount of information, but Schaal lists only those makers
who appear in his sole source (Quellen zur Geschichteder Stadt Wien,
hereafter QGW), which is rather selective and anyway stops at 1750, and
Haupt includes only those who were active in the 1790s and later (see the
Bibliography for full details of books and articles, referred to hereafter by
their authors' names). Between them, therefore, there is a gap from 1750 to
1790, perhaps the most important period in Viennese musical history,
which is only partiallyfilled by such books as Waterhouse and Fitzpatrick.
A rich source of information, however, is the chief eighteenth-century
Viennese newspaper, the WienerischesDiarium, which came out twice a
week from 1703 and changed its name to the Wiener Zeitung in 1780.
There are many advertisements by the makers themselves, and for
second-hand instruments offered by private individuals and dealers, and
in auction sales. Moreover the newspaper's 'deaths' column includes all
who died in the city, not just those who chose to pay for an
advertisement as nowadays; for each person the announcement gives the
name, address and age at death, together with the deceased's occupation
or, in the case of a wife or child, that of the husband or father. In those
days of high infant mortality, therefore, a man is likely to be listed on
several occasions, so that the column will record details of his family and
changes of address as well as his own dates of birth and death. In addition
to newspaper advertisements, other documentary sources, for example
bills for instruments and repairs in the Eszterhaza archives, can be very
helpful, especially about such details as crooks, reeds and prices.
Announcements in the 'deaths' column also indicate whether the
maker was a Burger, and hence a member of a guild. In Vienna,
instrument making, like other crafts, was dominated by the guild system
throughout the eighteenth century. Its chief aim was to assure members'
livelihoods by suppressing competition, not only from outside but also
between individuals within the same guild. This was effected by rules

170
laying down details of working practicesand the like, which to a large
extent stifledinnovation.To become an incorporatedmemberof a guild
(which in practicewas inseparablefromthe statusof Burger), one firsthad
to serve the stipulatednumber of yearsas a Lehjunge[apprentice],and
then seek employmentas a Gesellejourneyman]until one had produced
a satisfactorytest piece or Meisterstuck. But the expense involved in
setting up in businessas an independentcraftsmanwas considerable,and
many Gesellenwhose Meisterstuck had been accepted had to wait until
they inherited a businessfrom their fatheror father-in-law,or married
their master'swidow (who normallyhad the right to carryon her late
husband'sbusiness).
There were also Court makersor Hofbefreite, theoreticallyindependent
of the guild system, who were recognizableby such descriptionsas k.k.
Hofinstmrmentmacher or k.k. priv[iligirt].
In addition,considerablenumbers
of unauthorizedcraftsmen,called Stirer,were toleratedby a government
ever suspiciousof the real or imagined power of the guilds. Some of
them, but not all, were licensed, and were then known as sclhutzvenvandt.
Although Storerenjoyed none of the rights of Biirger,neitherwere they
bound by the guild'srestrictivepractices,and they were thereforeable to
be much more innovative.Most Viennesewoodwind makerswere Storer,
unlike brassmakerswho were nearlyall Biirger.(Formore detailsof the
Viennese guild system, see Chapter 3 of my KeyboardInstruments in
Eighteenth-Century Vienna.)
Descriptions of instrumentsand accessoriesin newspaperadvertise-
ments and the like can shed light on questionsof performancepracticeas
well as organology.For example,I havelong been puzzledby a moment
in the Act II Finaleof Le nozze di Figarowhere the hornshaveto change
from Bb to G in a mere halfbar:how on earthcould they havechanged
crooks so quickly? The answer may be that they didn't, but changed
instruments instead:the announcementof the sale of Starzer'seffects in
1790 shows that, up to his death the previous year, he was still
manufacturinghorns in a variety of fixed pitches as well as Inventions
horns with changeablecrooks.Again, FriedrichLempp'sfull price list of
1789 refers explicitly to severaldifferentpitch standards(he even asks
clients to send a tuning fork to be on the safeside);the notion thatin the
late eighteenth century there was a uniform standardof A= 430 Hz is a
modern myth. Lempp'sprice list is packedwith otherusefulinformation,
on the careof instruments(he recommendsliberaluse of almondoil), on
corpsde recliange (availablefor the oboe as well as the flute, and for the
clarinetto go fromBbinto A) in non-standardpitchessuch as high D and
low F and G (not the sameas bassethorns,which were availablein G and
Eb as well as F), and on such exotica as the flute d'amourand the vox
humana (evidently a different instrument from the cor anglais).
Erzbecker, too, specialized in flutes d'amour. Clarinets in Bl, as
mentioned by Thomas Attwood in his notes from his lessons with
171
Mozart, were bought by the Stadler brothers for the Burgtheater in 1782
or 1783, at least in the form of C clarinets with alternative Bo joints
(Hellyer, entry No.l). Hammig was fitting low B and C# keys to his
oboes (which, like his flutes, had Potter-type pewter keys) in 1799, and
Thurner demonstrated a 9-key flute of his own manufacture in 1793. An
unusual rarity, a left-handed bassoon by Rockobauer, was offered for sale
in 1774.
The many dozens of reeds supplied to Eszterhaza by several woodwind
makers, especially Rockobauer, suggest that Haydn's oboe and bassoon
players were not in the habit of making their own. There were even one
or two specialist reed makers, one of whom (Puchberg) supplied cane
as well as finished reeds, so at least one professional oboist preferred to
make his own. Finished reeds, whether for oboe, cor anglais or bassoon,
were relatively cheap at an apparently standardprice of 10 Kreutzerapiece.
As for instruments, Lempp's price list can be supplemented from other
sources to give a fairly complete picture of what they cost in Vienna, at
least towards the end of the century. (For convenience, prices quoted in
ducats are converted to Gulden (f) at the rate of 1 duc.= 4/2f; one Gulden
was divided into 60 Kreutzer(xr). A rough modern (late 1990s) equiva-
lent, in terms of both purchasing power and middle-class earnings, would
be about If =?25=$40.) Kerner charged 21f 20xr for a horn with a
complete set of crooks in 1773, but in the next decade Starzer was asking
52f for an Inventionshorn with crooks. Both Erzbecker's and Lempp's
price range for flutes, depending on the provision of corpsde rechangeand
materials such as silver for keys, was from 6f to 27f; a piccolo could be
had from Lempp for as little as lf30xr, though someone was charging
6f20xr in 1781 (Hellyer 22). Lempp asked from 6f to 10f for an oboe,
but an ebony oboe with silver keys from an unnamed maker cost 36f in
1788 (Hellyer 25). A cor anglais cost 36f from Griesbacher, though
Lempp's were cheaper at 18-27f. Lempp's price range for 'standard'
clarinets (in Bb6with A joint) was the same, with basset horns up to 63f;
Lotz was more expensive, at 43f20xr for a clarinet with (unspecified)
corpsde rechange,and 48f if it had a case as well. Bassoons cost 45f from
Anton Lotz of PreBburg [Bratislava],and from 18f to 54f from Lempp,
depending on the quality of the wood: up to 27f for figured maple, but
twice as much for boxwood. A replacement bassoon wing joint cost 6f in
1781 (Hellyer 21).
Makers are listed alphabetically below, in the separate categories of
brass makers, woodwind makers, Instrumentmacher (type of instrument
unspecified, but in fact probably woodwind), and reed makers. Makers of
stringed instruments will be the subject of a subsequent article in GSJ;
for makers of keyboard instruments, see my book. Only those who
worked in the city of Vienna for at least part of their life are listed;
the activities after 1800 of makers who survived into the nineteenth
century are not normally included here: for information about the
172
period 1801-15, see Haupt. For each maker, information (where known)
is presented in the following form.
(i) Dates of birth and death (years of birth in the form 'c.1751' are
calculated by subtracting the age at death from the year of death).
(ii) Other biographical details of the maker and his wife and children.
(iii) Address(es); the accompanying dates are the first and last years he is
known to have resided there. (Addressesin the Inner City (today Wien I)
are given as the name or number of the house followed by the name of
the street, whereas those in the suburbs (Wien II-IX) are the other way
round, with the name of the suburb first and the house name or number
second. Numbers refer to the scheme introduced c.1770, and those in
round brackets to the new scheme introduced on 1 October 1795;
conversions from 'old' to 'new' numbers have been made using the tables
in Gerold.)
(iv) Newspaper advertisements, bills etc., first those of the maker himself,
and then advertisements by others for instruments made by him. (Texts
are given in the original German, followed by my English translation.)
(v) Other information, such as master-pupil relationships. It should be
noted that surviving instruments are not listed here, except for a few that
are signed and dated and are therefore evidence that the maker was active
at that particular time.
Unless otherwise stated, information is taken from the Wienerisches
Diarium / Wiener Zeitung.

BRASS MAKERS
Almost all were Burger,and lived in the Inner City. The tradewas very much
a 'closed shop', dominated by a few families (see Fig.l), who were apt to be
jealous of their rights: Anton Kerner, for example, twice warned the public
about unscrupulousforgersof his work, and even took his colleagueHuschauer
to court over a dispute about the use of the Imperial eagle stamp on his
instruments.

1700 1710 1720 1730 1740 1750 1760 1770 1780 1790 1800

Geyer
M. Leichnamschneider F. Leichnamschneider Starzer Huschauer

J. Leichnamschneider I. Kerer

Pecht Farber A. Kemer

Burggraf A. Kemer Jr

FIG.1. Brass makers.

(Continuouslines indicatea maker'sworkinglife, usuallyfromthe date he becamea
Burger to the yearof his death;conjectural
periodsare indicatedby dottedlines.
Makerswho werenot independent,i.e. Gesellen and Lehrjungen,
are omitted,as also areHofmann and Weidinger.)

173
AMOR [misprint for AMON?], Franz (c.1738-1778)
Died 7 February 1778, when described as WaldhornmacherGeselle.
1778: Laimgrube 11.
Presumably employed by Kerner or Starzer, who were the only burgerliche
makers
in 1778.
BURGGRAF (or PURGGRAFF), Franz Anton (c.1700-1735)
Died 10 July 1735, when described as burgerlicherJagerhorn-macher.
1735: Laimgrube, 'Brunmeisterisches Haus'.
According to Waterhouse, a trombone by Franz Antoni Purggraff, dated 1728,
was exhibited at the Vienna International Exhibition in 1892.
makers in
Presumably a pupil ofJ. or M. Leichnamschneider, the only burgerliche
1720-30.
FARBER, Adam (or Anton?) (c.1700-1749)
[Named Anton at his death, and, according to Fitzpatrick, on a horn in the
Kunsthistorisches Museum, Vienna (though Fitzpatrick incorrectly quotes the
date as 1748 instead of 1745); otherwise Adam.]
Died 6 February 1749. Burgerby 1738. SonJohann Georg (3) d. 17 March 1738.
daughter Maria Anna (13/4) d. 24 March 1738, daughter Elisabeth (2?) d. 28 June
1741.
1738-49: 'Leichnamschneiderisches Haus' [799], bey dem Stubenthor.
Presumably a partner of (and successor to?) J. Leichnamschneider (same address).
Probably succeeded by A. Kerner (same address), who may have married his
widow.
GEYER (or GEYR)
Johannes Geyr, burgerlicher Trompeten- und Posaunenmacher, from Coburg
(Franken), married Anna Bendler on 17 August 1659 (QGW 6798); Waterhouse
lists instruments by Hanns Geyer dated 1671, 1676, 1690 and 1698 (some by
JohannJr?). Presumably father ofJohann andJoseph Geyer.
Forkel (1782, p.205) praises a brass maker Geier of Vienna, especially for his
horns: perhaps he was a descendant, although there is no other record of a
Viennese maker of this name later than 1705.
GEYER, Johann (c.1660-1705)
Died 16 March 1705, when described as burgerlicher
Trompetenmacher.
1705: 'Deckerisches Haus', Stock am Eisenpl.
GEYER, Joseph (c.1665-1704)
Died 13 August 1704, when described as Trompetenmacher Geselle.
1704: 'Decreisches [=Deckerisches?] Haus', Stock am Eisenpl.
Presumably worked forJohann Geyer.
GREINER, Georg (c.1754-1791)
Died 1 May 1791, when described as Waldhornmacher [Geselle?].
1791: 939 Weihburgg.
Unless he was an unauthorized Storer, presumably employed by Huschauer or
makers at the time.
Kerner, the only burgerliche
HOFMAN, I. G.
Waterhouse lists two trumpets labelled 'I. G. Hofinan a Wienn', said to be
eighteenth-century (ex Morley Pegge collection). Probably Johann Christian
Hofmann (c.1778-1810): see Haupt.

174
HORMANN, Benedikt (c.1769-1789)
Died 20 February 1789 (at 'barmherzige Bruder'), when described as
WaldhornmacherLehrunge.
Presumably an apprentice of Kerner or Starzer, the only burgerlichemakers at the
time.

HUSCHAUER, Joseph (c.1748-1805)

Died 11 March 1805. Burger 10 February 1791 (Haupt). A Franz Huschauer,
Meflingarbeiter[brass worker], was at 187 Naglergasse on 11 July 1794, when his
daughter Theresia (3) died: perhaps a brother, and probably a Geselle.
1791- (presumably) 1794: 187 Naglerg. (misquoted as 186 by Fitzpatrick).
1805: 199 (327) Naglerg. (misquoted as 196 (324) by Haupt).
Wiener Zeitung, 19 February 1791: 'Joseph Huschauer . . . in der Naglergasse
Nr.187, im nimlichen Gewolbe der verstorbenen Karl Starzer, . . . als er schon
vorher iiber 20 Jahre allhier zur Zufriendenheit seiner Meister gearbeitet hat.
Uebrigens K6nnen die Instrumentliebhaber auch mit den von dem verstorbenen
Waldhornmacher Starzer verfertigten, und hinterlassenen Arbeiten von ihm
bedienet werden'.
[Joseph Huschauer ... of 187 Naglergasse, in the same basement as the late Karl
Starzer [d.30 December 1789], . . . where he has already worked for over 20 years
to the satisfaction of his masters. Moreover music lovers can also be served by him
with instruments made by the late horn maker Starzer.]
Note, however, that although 187 Naglergasse had indeed been Starzer'saddress,
it was Ignaz Kerner and not Huschauer (as stated by Haupt) who formally
succeeded to Starzer'sbusiness. There was an auction sale of Starzer'sinstruments
and tools on 23 April 1790 at 187 Naglergasse: no doubt Huschauer bought
some of them, and these were what he was advertising the following year.
In 1792, Anton Kerner obtained an injunction against Huschauer, preventing
him from using the Imperial eagle on his instruments (Haupt).
In 1815, the guild applied to a magistrate to have Huschauer's business wound up
(Haupt); it must have been continued by his widow and/or Franz: Stradner lists a
trumpet dated 1806, Waterhouse 3 trombones dated 1813, and Hellyer (entry 13)
a bill of c.1808.
Presumably worked for Starzer, although it is not clear who the other 'master(s)'
may have been.
Fitzpatrick describes a horn in the Nirodni Muzeum, Prague, labelled 'Joseph
Huschauer/17 in Wienn 23', and suggests the maker may have been Huschauer's
father. But perhaps the date is a misreading, or the label is fraudulent: the
instrument has been much altered, and was fitted with valves c.1820.

KERNER, Anton (c.1726-1806)

Died 6 April 1806. Burger27 January 1751 (Haupt); described as Hof- und burgl.
Waldhornmacher in 1767. Married (1) Rosalia (Farber's widow?), born c.1704,
d. 12 May 1767; (2) Theresia, born c.1749, d. 30 October 1779. Daughter
Elisabeth (4) d. 12 January 1782, daughter Theresia (4) d. 9 February 1804. Sons
Ignaz and Anton: see below.
1767: 'Wachthaus', Stubenthor.
1779-87: 799 Stubenthor [Wollzeile].
1787-1806: 796 (715) Dominikanerpl., own house.
[Haupt says he moved there in 1785, but in fact Kerner announced the change of
address in the WienerZeitung on 30 May 1787.]

175
 Wiener Zeitung, 31 August 1771: Warning about instruments made in Prague,
Leipzig and elsewhere, falsely bearing his name.
Wiener Zeitung, 23 June 1784: Advertised 'neue gestochene Sinphonien mit 8
Stimmen von dem Verfasser Herrn Wenzel Pichel' [newly-engraved symphonies
in 8 parts by Wenzel Pichl].
WienerZeitung, 19 December 1789: 'Anton Kerner ... findet fur nothwendig die
vor einigen Jahren gemachte Anzeige zu wiederhohlen: daB er zur Aufdeckung
des strafbaren Betrugs, mit welchem einige auswartige Instrumenthandler sich
noch immer erkiihnen Waldhorner, Trompeten, und andere dergleichen
Instrumente unter seines Namens und Zeichenaufschlag fir achte zu verkaufen,
niemals von ihm verfertigte Instrumente an einen Handler zum Verkauf in
Kommission gegeben habe, noch kiinftighin geben werde: sondern diejenigen,
so einiges von seiner achten und in besten Ruf stehenden Arbeit verlangen, sich
belieben lassen, unmittelbar an ihn selbst zu wenden.'
[Anton Kerner . . . finds it necessary to repeat his notice of several years ago:
having discovered that several foreign instrument dealers are still daring to
commit the criminal offence of selling horns, trumpets and other such
instruments under his name and bearing his stamp, as if they were genuine, he
declares that he has never sold instruments made by him through a dealer, and
never will in the future. Those who wish for a genuine sample of his work,
worthy of his highest reputation, should apply directly to him.]
Wiener Zeitung, 21 April 1792: Advertised 'Tiirkische Zinellen' [turkish
cymbals]. Similar advertisements appeared on 12 December 1792, 29 October
1794, 19 September 1798 (which added that the cymbals were imported from
Constantinople) and 24 May 1800.
Repaired a horn at Eszterhaza, 1768: bill of 31 March for 3f30xr; supplied two
horn mutes in 1771 (on that occasion called 'Adami Kerner'); supplied
'Waldhorn ... samt allen B6gen [horn with all crooks] in 1773: bill of 26 May
for 21f 20xr (Valko 1960).
Supplied three pairs of horns with crooks to Eszterh'aza on 15 January 1780;
repaired horns and crooks in 1782: the receipt, dated 20 January, was signed
'Joseph Korner', who may have been an otherwise unrecorded son (Bryan).
In 1792, unsuccessfully petitioned Court for the title of Kammer Waldhorn-und
Trompetenmacher for his sons Ignaz and Anton, following the death of woodwind
maker Lotz on 26 June that year; also obtained an injunction against Huschauer
concerning the use of the Imperial eagle stamp (Haupt).
Probably succeeded Farber, who died in 1749 at the same address, No.799
(Kerner was too young to have been a pupil of J. Leichnamschneider); Rosalia
may have been Farber's widow, for she was over 20 years Kerner's senior.
Presumably teacher as well as father of Ignaz and Anton Jr.

KERNER, Anton Jr (c.1770-1848)

Son of Anton Kerner Sr; died 10 June 1848; Burger30 August 1799, and then
worked with brother Ignaz (all from Haupt).
1799: 796 (715) Dominikanerpl. (Haupt).

KERNER, Ignaz (c.1768-1813)

Son of Anton Kerner Sr; died 10 March 1813 (Haupt). Burger28 January 1790
(Wiener Zeitung, 24 February 1790). Worked with brother Anton, and then took
over father's business after his death in 1806 (Haupt).
January 1790: 796 Dominikanerpl.

176
February 1790: 190 Naglerg.
Wiener Zeitung, 10 February 1790: Announced that he had succeeded to the
business of Starzer (d. 30 December 1789), and had moved to No.190 [see also
Huschauer].
Stradner lists a trumpet dated 1797; Waterhouse lists a trumpet of 1791 and a
horn of 1798, and a trumpet of 1806 by Anton & Ignaz Kerner.
LEICHNAMSCHNEIDER
(LEICHAMSCHNEIDER, LEICHNAMBSCHNEIDER)
There is much confusion about this name in the literature, which despite its
macabre connotations (and pace Fitzpatrick) was quite common in Vienna in
the early eighteenth century: there was even a surgeon (!) named Benedict
Leichnamschneider (c.1715-1758) who lived in his own house (probably
No.181) in Naglergasse; Margaretha Leichnambschneider (c.1636-1709), who
died at what was then known as the 'Seidliches Haus' in Naglergasse could well
have been Benedict's (great?) grandmother. Michael Leichnamschneider is
known to have been born in Osterberg (Schwaben); Fitzpatrick says that he had a
brother Johann, born in Osterberg on 26 June 1679, but there seems no
particular reason to suppose that this Johann was the same as the Viennese brass
maker, or that the latter was a close relative of Michael (himself called Johann
Michael on two occasions), though he may have been Michael's pupil (see
below). Franz was perhaps a son of Michael, for he appears to have worked with
him, and in any case Johann had a son Franz who died in 1717 (Fitzpatrick is
evidently wrong to say that Johann was unmarried). Waterhouse also has an entry
for one Erasmus Leichnamschneider, known only by a trumpet in the (former)
Ruck collection, but van der Meer lists only a trumpet by Michael
Leichnamschneider dated 1724, whose reference number (MIR 114) indicates
that it came from the Ruck collection; almost certainly, therefore, 'Erasmus' is a
misreading of 'Michael' (in any case, Erasmus was a very uncommon christian
name in catholic Vienna).

LEICHNAMSCHNEIDER, Franz (c.1716-1767)

Died 6 November 1767, when described as burgerlicherWaldhornmacher (though
k.k. Hoff-TrompetenundJdgerhornmacher in 1765).
1767: 'Nickolauerhaus', Blutg.
[This was the address of the widow of stringed-instrument maker A. Posch when
she died in 1758, so it was probably No.866, the house in Blutg. where several
members of the Posch family lived.]
Repaired horns and crooks at Eisenstadt: bill of 12 August 1765 (Tank).
Stradner lists a trumpet dated 1746 in the Kunsthistorisches Museum, Vienna,
apparently part of a set of six presented by Empress Maria Theresia to the
Hofkapelle, the other five of which are by Michael Leichnamschneider and are
dated 1741.
Perhaps a son, and probably a pupil, of Michael Leichnamschneider.
LEICHNAMSCHNEIDER, Johann (d.1741 or later)
(It is doubtful - see above - whether he was Michael's brother Johann, who
according to Fitzpatrick was baptised on 26 June 1679 at Osterberg.) Burgerlicher
Trompetenmacher in 1728, but no so described in 1719 or earlier. Wife Maria Anna
(or Anna Maria) born c.1688, d. 4 November 1728. Daughter Anna Maria
Elisabeth baptised 27 May 1711, d. 24 November 1712, son Franz (2/2) d. 16
February 1717, son Friderich (10) d. 12 July 1719, daughter Catharina (2) d. 7

177
February 1731, son Augustin (15) d. 20 October 1741, daughter Anna born
c.1715, d. 11 October 1779 at 799 [formerly 'Leichnamschneiderisches Haus'],
Stubenthor (described only as a daughter of the late burgerlicherWaldhornmacher
Leichnamschneider, but Michael was a Court maker and lived elsewhere).
1712: 'klein Burgundisches Haus' [1173], Graben.
1717: 'Andreasisches Haus', Graben [same as above?].
1719-41: 'Leichnamschneiderisches Haus' [799], beym Stubenthor.
(The composer Mathias Monn (1717-50) died there on 3 October 1750.)
Fitzpatrick illustrates a horn dated 1710, stamped 'MACHT JOHANNES
LEICHNAMSCHNEIDER IN WIEN 1710'; Waterhouse lists a trumpet dated
1725.
Perhaps a pupil of Michael Leichnamschneider, who was the only burgerlicher
brass maker c.1705-20.

LEICHNAMSCHNEIDER, Michael (orJohann Michael) (1676/c. 1670-1751)

(Called Michael unless otherwise stated.) Born Osterberg (Schwaben) (QGW
7164); baptised there 26 August 1676 according to Fitzpatrick, but said to be
aged 81 at his death on 2 December 1751 (Heyde says he moved to Leipzig in
1739 and died there in 1748, which is certainly wrong; perhaps there were other
Leichnamschneiders in Leipzig?). Described as burgerlicherTrompetenmacher in
1706 (but just Trompetenmacher in 1701), and as Hof-Trompetenmacher in 1750
(Johann Michael), although not described as Hofon other occasions. Married, in
October 1701, parish of St. Stephan, Maria Thalheimer (QGW 7164), Maria
Anna born c.1678, d. 25 September 1750. Son Michael (3) d. 14 February 1706,
son Joseph (5) d. 3 November 1709, daughter Juliana Susanna baptised 15 May
1706, d. 26 January 1711, daughter Maria Anna (20) d. 20 October 1742. A son
Thomas Adam Johann, of Michael and Maria Anna Leichnamschneider, was
baptised on 21 December 1710 and d. 18 September 1719 at a house in
Naglergasse, but the notices do not describe his father as a maker, so possibly the
parents were a different Michael and Maria Anna. Witness at a marriage on 15
June 1710, when called Johann Michael (Fitzpatrick, who assumes - surely
wrongly - that there were two witnesses calledJohann and Michael).
1706: 'Leidlisches Haus', neuer Markt.
1709-51: 'Leichnamschneiderisches Haus', Bognerg.
[Fitzpatrick quotes a receipt of 1714, giving as address 'Naglergasse'; cf. death of
Thomas Adam Johann in 1719. In fact Naglergasse and Bognergasse are parallel,
and houses in the latter back onto the former; however, surgeon Benedict's house
(No.181) was on the opposite side of Naglergasse.]
Sold instruments to the Abbot of Kremsmiinster, 1703, and to the Abbot of
Gottweig, 1709 (Fitzpatrick).
Heyde describes a trombone stamped 'Michael Leicham/Schneider in Wien
1738'; Stradner lists five trumpets dated 1741, and Waterhouse a horn of 1711
and a trumpet of 1746.
Perhaps a pupil of Johann Geyer, who was the only burgerlicherbrass maker
c.1700.

PECHT, Johann Michael (c.1696-1730)

Died 25 October 1730, when described as burgerlicher
Trompetenmacher.
1730: 'Leichnamschneiderisches Haus' [799], beym Stubenthor.
Presumably employee or partner ofJohann Leichnamschneider (same address).

178
SCHOLLER, Michael (c.1722-1736)
Died 15 July 1736, when described asJagerhornmacherLehrjunge.
1736: 'Leichnamschneiderisches Haus' [799], bey dem Stubenthor.
Presumably an apprentice ofJohann Leichnamschneider (same address).
STARZER, Carl (or Karl) (c.1733-1789)
Died 30 December 1789, when described as burgerlicherWaldhornmacher.
(Stradner says he was a brother of the composer Joseph Starzer (c.1727-1787),
though he gives no source; it may be a guess based on the Eszterhaza bill of 1772:
see below.)
1789: 187 Naglerg.
[According to Fitzpatrick, the Wiener Commerzialschemaof 1779 gives his address
as 186 Naglergasse; but Fitzpatrick also incorrectly quotes Huschauer's address as
No.186 instead of No.187.]
Wiener Zeitung, 17 April 1790: Announcement of auction sale of 'deceased's
effects' at 187 Naglergasse on 23 April 1790 (surely Starzer's effects), to include
'verschiedene neu verfertigte Waldhorn, als 4 Paar C, 4 Paar G, 4 Paar D,
6 Paar Dis, 3 Paar Inventions, und 2 PaarJagdhorn, samt einen Redhorn, feine
und ordinare Trompeten, doppelte und dreyfache Posthorn Granzel, Trompeten-
knopfe, Krumb6gen, Trompeten und Hornmundstucke, samt einen Vorrath
Silberleth, und samtlichen Werkzeug' [various newly-made horns, namely 4 pairs
in C, 4 pairs in G, 4 pairs in D, 6 pairs in ES, 3 pairs of Inventionshorns, and 2
pairs of hunting horns, together with a megaphone (?), fine and ordinary
trumpets, double and triple posthorn garlands, trumpet bosses, crooks, trumpet
and horn mouthpieces, with a stock of silver solder and a complete set of
tools].
Apparently supplied Eszterhaza with 'Zwey Halbthonige Krumpbogen' [two
semitone crooks] for If on 22 October 1772, although the bill was signed 'Joseph
Starzer' (the composer?) (Valk6 1960).
Supplied Burgtheater with 'ein paar neue inventions Horn samt den dazu
gehorigen Mutationen' [a pair of new Inventionshorns with the corresponding
crooks], for 104f, presumably in the late 1780s (Hellyer 4).
Waterhouse lists a horn dated 1770 and a trumpet of 1791 (sic: bought at the sale
and sold by Huschauer?).
Fitzpatrick suggests he was Michael Leichnamschneider's successor, because of
the supposed coincidence of address, but (i) No.187 was on the opposite side of
Naglergasse from Bognergasse, and (ii) Starzer was only c.18 when
Leichnamschneider died. He is more likely to have been employed by Kerner or
Franz Leichnamschneider, who were the only burgerlichebrass makers active
c.1755-60 (perhaps Kerner, whose son Ignaz succeeded to his business).
Employer of Huschauer, who succeeded to his workshop.
STEINER, Bernhard (c.1762-1779)
Died 25 March 1779 (at 'barmherzige Briider'), when described as
Waldhornmacher Lehyunge.
Presumably an apprentice of Kerner or Starzer, the only burgerliche brass makers at
the time.
WEIDINGER, Anton (1767-1852)
(Dates from The New Grove). Wife Susanna born c.1775, d. 31 August 1807,
when Anton described as k.k. Hoftrompeter(as he was in his advertisement of
1800).

179
1807: St. Ulrich 66 (105).
Wiener Zeitung, 22 March 1800: Announced concert on 28 March 1800 at
Burgtheater: '. . . Seine eigentliche Absicht hiebey ist, die von ihm erfundene,
und nach einer siebenjirigen, und kostspieligen Arbeit nunmehr, wie er sich
schmeichelt, zur Vollkommenheit gediehene, und mit mehreren Klappen
versehene organisirte Trompete, in einem von Hrn. Joseph Haydn . . . eigends
auf dieses Instrument gesetztes Konzert, dann eine Arie vom Hrn. Franz Xav.
Siifmayer .. [His particular intention is to play the trumpet invented by him,
equipped with several keys, which he flatters himself he has now brought to
perfection after seven years of expensive work, in a concerto by Mr Joseph
Haydn specially writted for this instrument, and in an aria by Mr Franz Xaver
Siissmayr].
It is not clear, therefore, whether Weidinger was the maker or only the designer
of the keyed trumpet: 'expensive' suggests that he might have paid someone else
to make it.
Gave a concert on his keyed trumpet in Leipzig in 1802, which included a trio by
Hummel for piano, violin and trumpet (Gerber 1812-14).

WOODWIND MAKERS
There were, surprisingly, very few Viennese woodwind makers in the early part
of the eighteenth century, and apparently none at all in the 1740s. The only
Burgeruntil 1799 were T. and M. Stubenvoll and M. Lempp (see Fig.2); unlike
brass makers, nearly all woodwind makers were Storer,and lived in the suburbs.

1700 1710 1720 1730 1740 1750 1760 1770 1780 1790 1800

Thurner

Tauber

Hammig
Harrach

Backer Scholl

Marklein

M. Stubenvoll Erzbecker

T. Stubenvoll Bauer

Rockobauer

F. Lempp

M. Lempp

Wernberger Griesbacher

Lotz

Schumann

FIG.2. Woodwind makers.

(The namesof thosewho werenot Biirger (ordid not becomesuch until after 1800) are
given in italics. The verticalscalecorresponds
roughlyto the makers'addresses,
from
Wien I at the top to Wien IX at the bottom,thoughaddressesare not knownfor the
lastfour names.Kohlert, Puchberg,Riedl, and all 'Instrumentmacher' are omitted.)

180
BACKER, Lukas
Flute maker. Daughter Rosina (9) d.12 August 1783.
1783: Wieden, 'neues Theresianohaus'.
Possibly the 'H: Backer der Flautotraversist'mentioned in Leopold Mozart's letter
from Vienna, 29 August 1773.
BAUER (or BAUR), Jakob (c.1743-1797)
Died 23 July 1797 (of 'Nervenfieber': Haupt). Described as Instrumentmacher in
1774 and 1778, musikal. Instrumentmacher in 1797; apparently never a Burger,but
Court maker by 1780. Married (1) Elisabeth, born c.1744, d. 1 July 1778; (2, on
4 January 1784)Juliane Seefried (Haupt). SonJohann (4) d. 12 April 1774.
1774: Neubau 81.
1778: Neubau 139.
1780-97: Neubau 91 (235), 'goldenes Fagott' (his own house in 1796: Gerold).
Wiener Zeitung, 8 November 1797: Announcement of auction sale of 'deceased's
effects' (presumably Bauer's) at Neubau (235) on 16 November 1797. It was a
major sale, including pictures and jewellery; Bauer was clearly well-off, and also a
cultivated musician: '.. . Violin, Bratschen, Passetel von guten Meistern, mehrere
Musikalien in Partitur, bestehend in noch ganz unbekannten Concerten,
Variationen auf dem Pedal, kleinen Fagot, Basset und englischen Horn, dann
auch 9 stimmigen Harmonien mit dem Pedal Fagot ... Drechsler Drehbanke mit
den dazugehorigen Werkzeug'
[Violins, violas and cellos by good makers, sundry music in score, consisting of
quite unknown concertos and variations for the contrabassoon (?), tenoroon (?),
basset horn and cor anglais, and also 9-part Harmoniemusikwith contrabassoon
... turners' lathes with the necessary tools].
Supplied oboe and bassoon reeds (and on occasion cor anglais reeds), usually by
the dozen or two, to Eszterhaza at various times in 1776-79 (Valk6 1960;
Waterhouse says also in 1780). Two of the bills (e.g. that of 1 January 1778) are
signed 'Mathias Pauer, Instrument Macher, Wienn': perhaps an otherwise
unrecorded brother who worked for him?
Extant instruments include a curved (sickle-shaped) basset horn (Young).
Supplied oboes to Melk Abbey (Heartz, p.76).
BAUR, Rocko: see ROCKOBAUER
EHRLICH, EngelbertJohann (c.1765-1839)
Born Zugmandel (Bohemia); d. 28 October 1839, of'Altersschwach', at St. Marx
hospital; still a Geselle in 1799, but Burger14 May 1802; married Elisabeth, born
c.1770, d. 16 November 1827 (all from Haupt). Daughter Carolina (2) d. 8 July 1804.
1802 (Haupt) -1804: Wieden 174 (303).
Probably employed by Scholl in 1799, who was then the only burgerlicher wood-
wind maker in the Wieden suburb.

ERZBECKER, Johann (c.1726-1788)

Flute maker. Died 2 October 1788.
1787: am Platzel [St. Ulrich] 12, 'Degen'.
1788: St. Ulrich 13 [misprint for 12?].
WienerZeitung, 13 June 1787: '. .. macht nicht nur Flaute traveren von 6 Gulden
bis zu 6 Dukaten, sondern auch Flaute d'amour von 3 bis 6 Dukaten' [. .. makes
not only transverse flutes from 6f to 6 duc. (27f), but also flutes d'amour for 3 to
6 duc. (13Y2-27f)].

181
GRIESBACHER, Raymund (c.1752-1818)
Died 21 February 1818, of 'Lungensucht'; clarinettist at Eszterhaza, 1776-78;
Hofmusikinstrumentenmacher from 18 August 1800; Burger20 July 1804 (all from
Haupt). Theresia Griesbacher, born c.1754, d. 23 February 1804 in hospital, was
described as 'musician's wife', so could have been married to Raymund
(according to Haupt he left two children), although there were other Viennese
musicians called Griesbacher.
Supplied Burgtheater with two cor anglais, 1794/5, for 72f (Hellyer 5).
Schonfeld says that the director of Fiirst GraBalkowitz's Harmoniemusikwas then
(1796) 'der groBe Klarinetist GrieBbacher': perhaps Raymund?
According to Hoeprich (p.229), Griesbacher's basset horns are 'virtually identical'
to those of Lotz, which suggests that Griesbacher may have been Lotz's pupil (as
Tauber must have been: see below).
HAMMIG, Friedrich
From Saxony. Awarded Hofdekret1 July 1801 according to Haupt, who says he
had made unsuccessful applications in 1792 and 1794; although he described
himself as priv[iligirt]in 1791 and k.k. priv[iligirt]in 1799. Burgerby 1803. Wife
Anna Maria born c.1767, d. 28 July 1803.
August 1791: Leopoldstadt 365.
From Michaelmas 1791: Leopoldstadt, 'goldener Brunn' [241].
1799: Leopoldstadt 218 (275).
1803: Leopoldstadt 163 (234), own house.
Wiener Zeitung, 13 August 1791: 'Friedrich Hammig, aus Sachsen und jetzt hier
ansassig... verfertigt alle Gattungen Blasinstrumente ... Von Michaeli ist seine
Wohnung, beym goldenen Brunn eben in der Leopoldstadt . . .' [Friedrich
Hammig, from Saxony and now resident here . . . makes all kinds of wind
instruments ... From Michaelmas he will be living at the 'goldener Brunn', still
in Leopoldstadt].
Wiener Zeitung, 12 December 1791 (not 1792 or 1794 as Waterhouse says):
'Friedrich Hammig . . verfertigt alle Gattungen Blasinstrumente, als Oboen,
Fagot samt Rohren, Clarinetten, Flauten nach englischer und deutscher Art,
dann eine neue Erfindung von Bassethorn, dessen vorzugliche Eigenschaft die
Tiefe und Starke des Tons ist, ingleichen alle iibrigen kleinern Militarblas-
'
instrumente..
[Friedich Hammig... makes all kinds of wind instruments, namely oboes and
bassoons together with reeds, clarinets, English- and German-style flutes, and a
newly invented type of basset horn, whose special feature is the depth and power
of its tone, also all other smaller military-band instruments].
WienerZeitung, 26 January 1799: '.. . Ich glaube daher hinlangliche Veranlassung
zu haben, den resp. Liebhabern der Flote hiermit bekannt zu machen, daB ich
jetzt dieses Instrument nach der Erfindung des Englanders Potter bearbeite, durch
welche dasselbe in mehr als einer Hinsicht viel gewonnen hat, da man nicht allein
durch das Herausziehen des Kopfstuckes alle m6gliche Stimmungen machen
kann, so, daB nur ein Mittelstiick nothig ist, sondern weil auch die Klappen von
Metall den belederten weit vorzuziehen sind. Diese Vervollkommung der Flote
hat mich nun veranlaBt, solche auch fiir die Oboe anwendbar zu machen, und
bey derselben die namlichen Klappen anzubringen, die mit so guten Erfolg bey
der Flote gebraucht werden; und die Erfahrung hat mich gelehrt, daB sie auch
hier den namlichen Dienst leisten. Vermog derselben kann man das tiefe H und
Cis ganz rein haben, auch gewinnen mehrere Tone viel, welche ofters stumpf

182
sind, ohne andere Vortheile zu erwahnen .. .'
[. . . I believe therefore that I have sufficient cause to inform lovers of the flute
hereby that I am now making this instrument according to the new design of the
Englishman Potter, by which it is much improved in more than one respect. Not
only can one tune to all possible pitches by pulling out the head joint, so that
only one middle joint is necessary, but also the metal keys are much superior to
those covered with leather. This improvement to the flute has induced me to
adapt it also to the oboe, and to fit it with the same keys that have been so
successfully used on the flute; experiment has shown me that they work just as
well here. By their means low B4 and C# can be played perfectly in tune, and
other notes, that are otherwise often dull in sound, are much improved.]
Gerber (1812-14) says Hammig was a dealer as well as a maker of all sorts of
woodwind instruments.

HARRACH, Franz (c.1750-1831)

Flute maker. Born Olmiitz (Moravia); died 9 September 1831; Burger 27
September 1799 (all from Haupt). Wife Barbara born c.1763, d. 13 January 1797
(when Franz described as musikal. Instrumentmacher).
1797: PraterstraBe[Leopoldstadt] 372 (474).
1799: No.428 (Haupt: by implication 'in der Stadt', but more likely
Leopoldstadt?).
1802: Leopoldstadt 357 (428) (Haupt).

KOHLERT, B.
Waterhouse lists an oboe stamped 'B. KOHLERT/WIEN', said to be early
eighteenth century though incomplete. Nothing else is known about this maker.

LEMPP, Friedrich (c.1723-1796)

Born Furchheim, Germany (Haupt). Died 13 December 1796 (of'SchlagfluB':
Haupt). Priv[iligirt] by 1789. Daughter Katharina (25) d. 14 June 1789, son
Martin: see below.
1789-96, Alstergasse 156 (35), own house.
Wiener Zeitung, 25 February 1789: 'Friedrich Lempp, Musikalischer
Instrumentmacher und Musikus, der alle blasende Musikalholzinstrumenten
sowohl auswendig als inwendig schon mehr als 30 Jahr[e] selbst mit seinen
Handen verfertiget, hat es durch sein immerwahrendes Studium dahin gebracht,
die vergniigtesten Proben seiner Arbeit zu machen, daB sie, weil er auch selbst
alle Instrumenten, die er macht, musikalisch blast, in verschiedenen
Landschaften, und hier in Wien von verschiedenen Herren Musici, wie auch von
den k.k. Hofkriegsagenten, den es fur die k.k. Regimente auf die Prob[e]
gegeben wurde[n], von denselben fur gut befunden, worden, beitet sich daher
dem samtlichen hochloblichen Publikum an, noch ferner nicht mit einem
ubertriebenen sondern um den billigsten Preis gut und mit allem FleiB zu
arbeiten. Er hat auch einen Sohn [Martin], welcher 23 Jahr[e] alt, und das
Instrumentmachen samt alle Instrumenten musikalisch zu blasen erlernt hat,
dieser hat erfunden, wie das Instrument mit Nahmen Serpent (ein BaB-
Instrument) wie es geblasen und gemacht werden kann, hat auch den dritten
Serpent schon verfertiget. Er macht auch Oboarohr, Fagotrohr und englishe
Hornrohr.
Preis der blasenden Musikalholzinstrumenten. Es ist zu merken, daB sich die
Leder unter den Klappen gut decken.

183
 1) Eine Oboa ohne Mutation 6 fl. - mit 3 Mutation[en] von guten Buxbaum,
9 auch 10 fl.
2) Ein Fagott von ordinar Ahorn 4 Dukaten. - von geflammten Holz 5 bis 6
Duk. - mit extra Klappe 7 Duk. - von Buxbaumholz 12 Duk.
3) Ein B Clarinet von Buxbaum mit A Mutation und schwarzen Bein garnirt,
und die Klappen zum ziehen, das Mundstiick von Granadilholz oder schwarzen
Bein 4, 5 bis 6 Dukaten.
4) Ein buxbaumen C Clarinet mit schwarzen Bein garniert 3 bis 4 Duk.
5) Ein buxbaumen D Clarinet schwarz garnirt 8 bis 10 fl.
6) Ein tiefes F oder G Clarinet schwarz garnirt 6 bis 7 Duk.
7) Einen neu erundenen BaB Serpent, der noch nie in hiesigen Landschaft ist
gemacht worden 14, 16 auch 18 Duk.
8) Ein neu erfundenes Dis oder G Bassethorn, das er selbst erfunden, 10, 12 auch
14 Duk.
9) Ein F Bassethorn 9, 10, 12 bis 14 Duk.
10) Ein englisch Horn 4 bis 6 Duk.
11) Ein[e] Flaute traveur mit 3 Mittelstiick[en] von guten Buxbaum 6, 7 bis 8 fl.
- eine Flaute traveur mit Elfenbein garnirt, mit 3 Mutationen und silbernen
Klappen, und den Kopfzu schrauben, 4 bis 6 Duk.
12) Ein[e] Flaute d'Amour 2 Duk. - eine Flaute d'Amour mit Elfenbein 3 Duk.
- mit silbernen Klappen und Schrauben 4 Duk.
13) Ein Foxhumana mit 9 auch 10 Klappen 6 und 7 Duk. - ein Cornet 2 Duk.
14) Ein[e] F Flaute traveur, die mit dem B Clarinet ibereinstimmen 4 fl.
15) Ein Oktav Flattin zur Flaute traveur 1 fl. 30 kr. - schwarz garnirt 2 fl. - mit
Elfenbein garnirt 3 fl.
16) Ein[e] D oder dis Pfeife mit messingenen Ring 2 fl. auch 2 fl. 30 kr.
17) Eine C Pfeife zum abschrauben und schwarz garnirt 3 fl.
Diese Instrumente werden alle mit guten ausgetrockenen Holz gearbeitet, und
mussen vorher, ehe man darauf blaset, mit Mandelol gut aufgeschmieret werden,
damit sich das Wasser nicht gleich hineinsetzen kann, ist auch wegen Faulung des
Instruments gut. Auch versteht es sich, daB er fur seine Arbeit gut stehet, und im
Fall sich in einem Ton etwas andern sollte, er es umsonst zurecht richtet, wenn
sich dann und wann eine Unreinigkeit in die Locher, oder das Wasser in das
Instrument setzt. Wenn ihn jemand mit auswartigen CommiBionen beehren
sollte, so ersucht er ihm die Stimmung zu beschreiben, ob es Wiernerton,
Kammerton, oder gar franzosische Stimmung seyn soll, oder ihm den
sogenannten Stimmstagel mitschicken .. .'
[Friedrich Lempp, musical-instrument maker and musician, has for over 30 years
personally been making all types of woodwind instrument, of which he has a
thorough knowledge. Through his endless research he has brought matters to the
point where his work can be tested with the greatest pleasure, so that, since he
himself plays all the instruments he makes, they have been approved by various
musicians in various regions as well as here in Vienna, and also by representatives
of the Imperial Ministry of War, who have had them on approval for the Imperial
Regiments. He therefore offers his work to the esteemed general public,
moreover not at an excessive price but as cheaply as possible, well made with the
umost care. He also has a son [Martin] of 23, who has learnt instrument making
and to play all instruments, and who has discovered how to play and make the
instrument known as a serpent (a bass instrument); he has already made his third
serpent. He also makes reeds for oboes, bassoons and cors anglais.

184
 Prices of the woodwind instruments (it should be noted that the keys are well
covered with leather underneath).
1. Oboe without corps de rechange6f; with 3 corps de rechange,and of good
boxwood, 9 and 10f.
2. Bassoon of ordinary maple 4 duc. (18f); of figured wood 5 to 6 duc. (22?2-
27f); with extra key 7 duc. (31 /f); of boxwood 12 duc. (54f).
3. B, clarinet of boxwood with A joint, mounted in black[-stained?] bone, with
articulated keys (?) and mouthpiece of African blackwood (grenadill) or black
bone, 4, 5 to 6 duc. (18-27f).
4. Boxwood C clarinet, mounted in black bone, 3 to 4 duc. (13/2-18f).
5. Black-mounted boxwood D clarinet 8 to 1Of.
6. Black-mounted clarinet in low F or G 6 to 7 duc. (27-31?f).
7. Newly invented bass serpent, never before made in this area, 14, 16 and 18
duc. (63-81f).
8. Newly invented E' or G basset horn, invented by himself, 10, 12 and 14 duc.
(45-63f).
9. Basset horn in F 9, 10, 12 to 14 duc. (4012-63f).
10. Cor anglais 4 to 5 duc. (19-22/2f).
11. Transverse flute with 3 middle joints, of good boxwood, 6, 7 to 8f; ivory-
mounted transverse flute with 3 middle joints, silver keys and screw head 4 to 5
duc. (18-22Y2f).
12. Flute d'amour 2 duc. (9f); ivory-mounted flute d'amour 3 duc. (1312f); with
silver keys and screw (head) 4 duc. (18f).
13. Vox humana with 9 or 10 keys 6 and 7 duc. (27-31/2f); cornett (?) 2 duc.
(9f).
14. Transverse flute in F, tuned to match B' clarinet, 4f.
15, Piccolo lf30xr; black-mounted 2f; ivory-mounted 3f.
16. Fife in D or EL with brass ring 2f and 2f30xr.
17. Black-mounted fife in C with screw [head] 3f.
These instruments are all made of well-seasoned wood, and before being
played must be well oiled with almond oil, so that water cannot penetrate; also
effective against rot. The work is of course guaranteed, and if a note needs
adjustment it will be rectified free of charge, if now and again there is dirt in the
[finger]holes or water remaining in the instrument. Those who wish to honour
him with commissions from abroad are requested to specify the required pitch,
whether Vienna pitch, Kammerton,or even French pitch, or to send him a tuning
fork...]
WienerZeitung, 28 May 1794: Announcement of auction sale on 30 May 1794 at
Alstergasse 156 that included '1 grosses Orgelwerk mit 12 Stuck' [1 large
mechanical organ with 12 pieces]: it might have been Lempp's, though the sale
was said to be of'deceased's effects'.
The business was continued by his son Martin.

LEMPP, Martin (c.1766-1836)

Son of Friedrich. Died 22 August 1836 (Waterhouse). Burger22 August 1788,
HofmusikinstrumentenmacherAugust 1800 (Haupt). Daughter Anna Maria (3) d. 7
Oct. 1800, daughterJosepha (1) d. 28 May 1801, son Franz (1) d. 13 September
1805.
1789-1805: Alstergasse 156 (35) (his own house in 1796: Gerold).

185
LOTZ (or LOCZ, LOZ, LUTZ), Theodor (c.1748-1792)
Died 26 June 1792, in allgemeines Krankenhaus (of 'SchlagfluB': Haupt).
Worked in PreBburg [Bratislava]until at least 1783 (Cramer, 1783, p.654); moved
to Vienna by 1785: see below. According to Waterhouse he was appointed k.k.
Kammer Waldhorn-und Trompetenmacher in 1788; this seems very unlikely since
there is no evidence that he made anything but woodwind instruments, although
A. Kerner (q.v.) unsuccessfully petitioned for this title for his sons Ignaz
and Anton, following Lotz's death. Described (more plausibly) as k.k. Hof-
Instrumentenmacher on the handbill for a concert on 20 February 1788: see below.
WienerZeitung, 23 June 1792: Announcement of auction sale on 28 June 1792 at
683 Rothethurmg., that included two bassoons by 'Meister Lutz'.
WienerZeitung, 25 July 1792: Announcement of sale of Lotz's effects on 9 August
1792 at 'Freyhaus auf der Wieden', including 'verschiedene theils gefertigt, theils
ungefertigten Musikinstrumenten, dazugehorigen Holz und Werkzeugssachen'
[various finished and unfinished musical instruments, with the corresponding
wood and tools].
Supplied two clarinets with 'Mutationen' to the Burgtheater in 1784/5, for 86f
40xr, and a pair of boxwood C clarinets with 'Mutationen' and cases in 1785/6,
96f (Hellyer 2, 3). Hellyer 19 also lists Anton Lotz, 'Instrumenten Macher in
Pressbourg', who in 1780 supplied a bassoon for 10 duc. (45f) to Prince
Schwarzenberg's bassoonist Prochaska: perhaps a brother?
Lotz is often credited with the invention of the angled basset horn, but although
all of his surviving instruments are of this type (see for example Young,
Hoeprich), Cramer's report (1783, p.654) of Lotz's improvements to the basset
horn is followed by a description of the older 7-key curved variety, which he
thinks is normally pitched in G:
'. . Verbessert und zu der jetzigen mehreren Vollkommenheit gebracht hat es
der beriihmte musicalische Instrumentenmacher Theodor Lotz zu Presburg [sic],
in Ungarn; die Form desselben ist ein halber Mond, am Ausgang befindet sich
ein viereckter Kasten, darinnen 3 Canale befestigt sind. Am Ende des letzten
Canals steckt ein von MeBing zusammengedrucktes Schabstiick. Dieses
Instrument is von Holz mit schwarzen Leder iiberzogen, hat 7 Locher und 7
Klappen, wird wie ein Clarinet geblasen, und hat auch ein solches Mundstiick.
Der Umfang ist nach dem BaBschlussel bis in das tiefsten g, in einen starken Ton,
und die Hohe bis in das obere d, wenn die Stimmung aus g ist.'
[It has been improved and brought to its present perfection by the famous
musical-instrument maker Theodor Lotz of PreBburg in Hungary. Its shape is
that of a half moon, at the far end there is a rectangular box in which there are 3
borings. At the end of the last of these is a horn made of brass. This instrument is
made of wood, covered with black leather, has 7 holes and 7 keys, is played like a
clarinet, and has the same sort of mouthpiece. The range is from G at the bottom
of the bass clef, with a powerful tone, to top D, assuming it is pitched in G.]
(Gerber 1790-92 repeats Cramer's report almost verbatim, including the
description of the by-then-obsolete curved variety.)
Made a basset clarinet played by Anton Stadler at a concert in the Burgtheater on
20 February 1788 (Lawson, who reproduces surviving handbill in facsimile:
'Wird Herr Stadler ein Konzert auf der BaB-Klarinet spielen . . . einem
Instrumente von einer neuen Erfindung, und Verfertigung des ... Theodor Loz;
dieses Instrument hat zwey Tone mehr, als die gewohnliche Klarinet' [Mr Stadler

186
will play a concerto on the basset clarinet, a newly invented instrument made by
Theodor Loz; this instrument has two more notes than the normal clarinet].)
Played contrabassoon in a wind sextet by Stadler at a concert at Mozart's Masonic
Lodge ('Zur gekr6nten Hoffhung') on 15 December 1785; the programme also
included a concerto for two basset horns played by David and Sprenger, and a
Mozart piano concerto played by the composer (Deutsch). Probably, therefore,
Lotz and Stadler also took part in the premiere of Mozart's Maurerische
Trauermusik,K.477, at the same Lodge on 17 November 1785.
MARKLEIN (or MERKLEIN), Johann Baptist (1761-1847)
Born Rehberg (Franken); d. 23/24 May 1847 (Waterhouse). Burger27 December
1799 (Haupt). A Helena Merkl, described as the wife of a bgl. Instrumentmacher,
died on 24 July 1800 at the age of 51: she may have been Johann Baptist's wife,
and if so the difference in age suggests that she was his master's widow.
1799-1808: Laimgrube 16 (172) (Haupt).

PUCHBERG, Andreas: see reed makers.

RIEDL, Joseph
Waterhouse lists a flute by Josef (sic) Riedl, said to be c.1780. Nothing else is
known about this maker.
ROCKOBAUER (or ROCKOPAUER, RUCKEBAUER), Mathias (?c.1708-
?1775)
[Incorrectly listed as Rocko Bauer (as if Baur were his surname) by Waterhouse
and Young.]
(The dates are those of Mathias Rockopauer, described as a 'musician', who died
on 17 July 1775 at the age of 67; but note that his bills to Eszterhaza continue -
see below - to 1 January 1777: possibly the business was continued by Johann
Michael.) Wife Theresia born c.1709, d. 10 March 1784 at Oberneustift 179,
when described as the widow of a Musikinstrumentmacher. Son Lorenz (3) d. 31
August 1756.
1756: Mariahilf, '3 Hacken' [138].
1775: Neubau 98 (assuming that the Mathias Rockopauer who died on 17 July is
the same man).
Wiener Zeitung, 2 March 1774: The copyist Simon Haschke offered '2 Fagotti
von Rokobauer, einer links, der andere rechts in CommiBion' [2 bassoons by
Rockobauer, one left- and one right-handed].
Bills to Eszterhaza for repairs, and for many dozens of oboe and bassoon reeds,
1764-77 (Tank, Valk6 1956, Valk6 1960). One bill (29 June 1768) was signed by
'Johann Michael Rockobauer, Instrum. in Wien', possibly a son, and another (1
December 1772) was signed by J. Rockobauer; several just carry the surname
Rockobauer, but the last one (1 January 1777) is signed 'Mathias Rockobauer'.
SCHOLL, Franz
Burgerby 1799, but not so described in 1796. Wife Clara born c.1770, d. 9 July
1796. Awarded Hofdekretin 1802, after unsuccessful applications since the death
of Lotz in 1792 (Haupt).
1796-99: Wieden 112 (194).
1800: Wieden, Favoriteng., 'neu erbautes Hafnerhaus' [(537)?].
Wiener Zeitung, 21 August 1799: 'Franz Scholl . . . schmeichelt sich . . das
Clarinett und Fagot in einem noch grossern Theil verbessert zu haben .. .' [Franz

187
Scholl ... flatters himself . . that he has improved the clarinet and bassoon to a
still larger extent .. .]
Wiener Zeitung, 31 May 1800 'Unterzeichneter, welcher schon im vorigen Jahre
von seinen neu erfundenen Clarinetten vorlaufig Meldung machte, hat die Ehre
einem hohen Adel und verehrungswurdigen Publikum (bey Gelegenheit seiner
Wohnungs-Veranderung) bekannt zu machen, daB er die erstbemeldeten
Inventions-Clarinetten auf Subscription einer gewissen Anzahl Abnehmer
herauszubringen willens ist: diese Clarinetten, welche an Gute des vortheilhaften
Gebrauchs, und besonders des sehr lieblichen Tons ganz uberraschend sind ...
Auch verfertigt er Fagot's und Floten nach neuer englischer Art ..'
[The undersigned, who last year made a provisional announcement of his newly
invented clarinets, has the honour (on the occasion of his change of address) to
inform the nobility and respected public that he is willing to bring out the above-
mentioned Inventions-clarinets on subscription by a sufficient number of
purchasers. These clarinets, which are quite astonishing on account of their
excellent playing qualities and especially of their very lovely tone . . . He also
makes bassoons and flutes in the new English style ...]

SCHUMANN, Christian
An InstrumentMacher,who supplied an oboe with three 'Mutationen' to Prince
Schwarzenberg (for the oboist Triebensee), for 14f, on 20 October 1780 (Hellyer
20).
STUBENVOLL, Mathias (?c.1701-?1741)
(The dates are those of Mathias Stubenvoll, occupation unspecified, who died in
the Burgerspital on 25 January 1741.) Flute maker, probably son of Thomas
Stubenvoll. Burgerby 1733. Wife Maria born c.1705, d. 17 April 1733.
1733: Spitalberg, own house.

STUBENVOLL, Thomas
Flute maker. Presumably dead by 1733, if Mathias was then the owner of the
same house. Burgerby 1709. Married (1) Catharina, born c.1685, d. 6 October
1720; (2, on 4 February 1721) Theresia Weidlin (on this one occasion called
Johann Stubenvoll, though described as a Flautenmacher).Daughter Theresia (13
days) d. 1 May 1709, daughter Catharina (5) d. 2 April 1724, daughter Catharina
(2/2) d. 25/26 December 1724, daughter Anna Maria (1?) d. 6 August 1730.
1709: 'Moserisches Haus', tiefer Graben.
1720: Spitalberg.
1724-30: Spitalberg, own house.
(Gerber 1790-92 lists a composer called Stubenvoll,fl. Vienna 1785: a descend-
ant?)
TAUBER, Caspar (1758-1831)
Born Werixas (Hungary), d. 17 November 1831 (Waterhouse). Burger 27
September 1799 (Haupt); k.k. priv[iligirt]by 1794.
1794: Leopoldstadt 167, 'goldene Rose'.
1799: Leopoldstadt 131 (267) (Haupt).
c.1808: Leopoldstadt 429 (460) (Hellyer 6, 12).
WeinerZeitung, 4 June 1794: '. . Er iiberlast es Kennern zu beurtheilen, ob er
sich zu viel schmeichle, wenn er versichert, daB seiner Instrumente bey gleicher
Gute und Reinheit auch sich noch leichter blasen lassen, als jene von der Arbeit
des Hrn. Lotz sel. bey welchem beruhmten Meister er viele Jahre konditionirt.. '

188
[. . . He leaves it to experts to judge whether he flatters himself too much in
asserting that his instruments are the same quality and purity [of intonation], and
are even easier to play, than those of the late Mr Lotz, the famous maker who
employed him for many years .. .]
Evidently a former employee of Lotz.
Young lists many instruments, including contrabassoons, and small bassoons at
higher pitches.
THURNER (or TURNER), Franz
Flute maker and player. Wife Adelheid born c.1770, d. 12 January 1798; daughter
Franziska (2) d. 5 October 1797.
1793: 'Baron Wetzlarisches Haus' [139], Kohlmarkt.
1797-98: 464 PreBg.
WienerZeitung, 20 March 1793: Announcement of concert on 22 March 1793 at
the Burgtheater, at which Thurner would play 'Concerten und Variationen auf
einer von mir erfundenen und eigenhandig verfertigten Flote mit 9 Klappen'
[concertos and variations on a 9-key flute invented and made by myself].
WienerZeitung, 24 April 1793: Mentions the concert, and adds: '.. . meldete ich
auch, daB ich diese Flote eigenhandig bearbeitet habe. Dem zu Folge kiindige ich
allen diejenigen an, welchen es um ein gutes Instrument zu thun ist, daB von
meiner Arbeit bereits Floten zum Verkauffertig liegen, und daB ich Bestellungen
auf Floten von einer bis 9 Klappen annehme, und auch Floten reparire . . .'
[. .. I announced that I have made this flute myself. In pursuance of which I
declare to all those who care about a good instrument that completed flutes of
my construction are available for sale, and that I take orders for flutes with from
one to 9 keys, and also repair flutes .. .]
Gerber 1790-92 says there were two brothers Thurner, both flute players of
Vienna; Gerber 1812-14 says one of them was named Matthias, and was born in
Vienna in 1758.

WERNBERGER, Sebastian
Flute maker. Daughter Elisabeth (3) d. 6 August 1768.
1768: Himmelpfortgrund, 'griinerJager' [48].

INSTRUMENTMACHER
The following are described simply as Instrumentmacheror musikalischerInstrument-
macher,so may have made other types of instruments, although woodwind seems
most likely, since some woodwind makers (for example Bauer, Hammig and
Harrach) are known to have described themselves in this way.
BABALAKY (?),Johann (c.1765-1795)
(The name could be BABALALY or BABALATY: the type for the penultimate
letter is broken). Died 12 Janary 1795, at 'barmherzige Briider'.

BUDER, Johann (c.1776-1799)

Geselleat his death, on 2 July 1799 (in allgemeines Krankenhaus).

HANN, Thomas (c.1771-1798)

Geselleat his death, on 6 June 1798.
1798: Kothg. [Laimgrube] 27 (150).

189
HUBER, Mathias (c.1763-1799)
Gehilfer[assistant]at his death, on 1 May 1799.
1799: 732-3 (731) Fleischmarkt.

KOLL, Martin (c.1729-1799)

Died 11 February 1799 (in allgemeines Krankenhaus).

SCHNEIDER, Franz
Daughter Ursula (3) d. 12 May 1779.
1779: Lerchenfeld 153.

VOGTLANDER, Christoph
SonJohann (1) d. 18 February 1778.
1778: Penzingerstr. 249.

WITTMANN, Michael
Wife Theresia born c.1753, d. 22 February 1803.
1803: am spanischen Spitalberg [Wahringergasse] 132 (232).
May have worked for Friedrich and/or Martin Lempp, who lived at No.156 and
were the only woodwind makers in the Alstergasse-Wahringergasse suburb
(the only other instrument maker who lived there was the keyboard maker
Konnicke).

REED MAKERS
Several makers of oboes and bassoons are known to have made reeds as well: see
Bauer, Hammig, Lempp and Rockobauer. Two specialist reed makers are known:
PUCHBERG (or BUCHBERG), Andreas
Described himself as Rohr Macheron 30 December 1779, on a bill for cor anglais
reeds (at 2f per dozen) supplied to Prince Schwarzenberg's household (Hellyer
28); but on another bill of 4 September 1780 (uniquely, for oboe reed cane, not
for finished reeds) called himself k.k. Instrumentmacher(Hellyer 29).

SCHINTLER, Anton (?c.1728-?1784)

(The dates are those of Anton Schindler, Musicus, who died on 9 February 1784
at Alstergasse 4.)
Bills to Eszterhiza for two dozen bassoon reeds on 1 January 1777 (signed
'Antoni Schintler, Rohr M., Wien'), and 1/2 dozen bassoon reeds on 1 January
1778 (Valk6 1960).

BIBLIOGRAPHY
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Horace Fitzpatrick: The Horn and Horn Playing. London: Oxford University
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Johann Nikolaus Forkel: MusikalischerAlmanachfur Deutschland. Leipzig, 1782-
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190
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