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update: 22-04-2014

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Schiedmayer

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Schiedmayer in Heiloo NL

Schiedmayer - Johann Lorenz

Schiedmayer - J & P Harmoniums

Schiedmayer Live Concert 2009

Schiedmayer Exhibition 1881

Schiedmayer Johann Chr. Georg

Schiedmayer Celebration 2011

Schiedmayer Serial Numbers

Joseph_Schleier_Brazilien

3M-Harmonium-Celesta-Suction

Schiedmayer Flügel_1900

Schiedmayer 300 Jahre & Liszt

Schiedmayer Archive Research

Max Schiedmayer

Erlanger Heimatbuch 1925

Dominator-Parabrahmorgel

Fritsche Patent Dominator

Factory Buildings Schiedmayer

Schiedmayer-Manteldach

 

Catalogi / Catalogs Schiedmayer

 

 

BOOK ON SCHIEDMAYER

 

Concept of outline

 

 

 

Johann David Schiedmayer

Johann David * 1743 - † 1805

Johann Lorenz Schiedmayer

Johann Lorenz * 1786 - † 1860

Adolf Sr Schiedmayer

Adolf Sr.

Hermann Sr.

Hermann Sr.

Adolf Jr.

Adolf Jr.

Hermann Jr.

Hermann Jr.

Gustav Schiedmayer

Gustav Schiedmayer

 

Charlottenstrasse 4

Charlottenstrasse 4

Pyramidenflügel 1810

Pyramidenflügel 1810

Flügel 1812

Flügel 1812

Tafelform 1815

Tafelform 1815

Pianoforte 1830

pianoforte 1830

Fabrik 1854

Fabrik 1854

Nanette Streicher

Nanette Streicher

Advertentie

 

PIANO MECHNANIK
(aus: Wikipedia DE)
Während heute einige wenige Ausführungen des gleichen Klaviermechanik-Typs den Markt beherrschen, gab es am Anfang der Geschichte des Hammerklaviers beinahe so viele Mechanik-Konstruktionen wie Klavierbauer. Zwei Grundtypen kristallisierten aber sich schnell heraus: die Prellmechanik, auch „Wiener Mechanik“ oder „Deutsche Mechanik“ genannt, und die Stoßzungenmechanik, auch „Englische Mechanik“ genannt. Während sich die Stoßzungenmechanik gegen Ende des 19. Jahrhunderts durchsetzte, weiterentwickelt wurde und den heute standardisierten Mechaniktyp darstellt, findet sich die Wiener Mechanik heute nur noch in historischen Instrumenten und deren Nachbauten.

Die Hammerköpfe sind bei Hammerklavieren kleiner und leichter als heute. Bei einigen frühen Instrumenten (u. a. bei Tangentenflügeln und Instrumenten von Johann Andreas Stein) bestanden diese zunächst nur aus Holz, manchmal sogar aus Elfenbein, so dass der erzeugte Klang demjenigen eines Cembalos sehr nahe kam. Sehr bald aber wurden sie mit Leder bezogen. Schon bald wurde mit Kombinationen von Filz und Leder experimentiert. Erst nachdem Henri Pape 1826 ein Patent auf die Befilzung von Hammerköpfen angemeldet hatte, konnte sich Filz als alleiniges Hammerkopfbezugsmaterial immer mehr durchsetzen, bis sich gegen Ende des 19. Jahrhunderts Filz als alleiniges Material etablierte.

 

 

 

See this page in Dutch

A comprehensive history of Schiedmayer

Stammbaum Schiedmayer

 

Above is a short pedigree tree - Stammbaum of the family. It is not complet. There is a more enhanced editon as a picture. It's size is to big to have it on the website. At the moment we are at the 11th generation. I myself am of the 13th generation of my family, and still we are not famous :-(

So I started making my own edition of the pedigree tree. It is in Acrobat format. Just click the link and you will see the family pedigree AND the company pedigree.

Family and company pedigree

 

200 Jahr Schiedmayer in Stuttgart

Today, december 8th 2009 I visited our Royal Library, to obtain a copy of a booklet, 69 pages, showing the history of the first 100 years of the compay settled in Stuttgart.

Schiedmayer logo  

The hardbound booklet has a linen cover with a faded text "100 Jahr" and the company's logo as found in the Schiedmayer grand piano's.

As said, faded away on the cover of the book. So hardly any use of showing this on the website.

And I came to the idea to make a false cover. By combining the cover and the title page in one image on a sheet of yellow paper.

 

this is a fake cover.

The title of course is not fake. The name of the editor is correct and his name is Alexander Eisenmann. And the warning on the cover "Nachdruck nur mit Genehmigung der Firma gestattet" still means that I have to write a very polite letter to Mrs. Elianne Schiedmayer for permission to quote the book.

[ to be able to write this article I have to think and write in Dutch first, when finished a translation to English will be published. Your comments will be appreciated ]

The history of a dynasty


In the year 1648 in the German Westfalian city of Münster two peace treaties were signed, ending two wars. The 30-year War in Germany in which almost all of Europe was involved. And the 80- year war between The Netherlands and Spain – in which also many other countries were involved. Both wars were in fact religious wars, due to bitter conflicts between roman-catholics and the participants of the Reformation.


Negotiations of peace of both wars were in combined negotiations, by inviting The Netherlands to the negotiation table, although The Netherlands were not involved in the 30-year war in Germany. This way they succeeded in ending two wars at one table at Münster in the same year.
The treaty of the 80-year War was drafted on January 30th in 1648 and signed on May 15th 1648. The 30-year Treaty was signed on October 24th in 1648.

 

Schiedmeyer / Schiedmayer

Johann ( I ) Schiedmeyer

Shortly after the end of the 30-year War bricklayer and stonemason Johann Schiedmeyer referred to his Confessor Master Steiner – at the Austrian village of St. Peter – for a passport due to the  Faith suppression to be able to flee in exile to Franconia Bavaria (i.e. the Nürnberg region). He left St. Peter in 1652, four years after signing the peace treaty of the 30-year War.

It is suggested in literature – due to the family name Schiedmeyer being recorded in various historic sources – Johann Schiedmayer was from the Nürnberg region, left for Austria and so in fact he returned to his region of birth.

Johann Schiedmayer lived at various places in Bavaria.  His son – Veit – was trained and educated to become a baker. And he became a “Hofbäcker” (supplier to the court as a baker) in the village of Frauenaurach, close to Erlangen. Finally he became part of the judiciary circles and he died in 1722, while being the Mayor of Frauenaurach.

Veit Schiedmeyer in Frauenaurach

Two of the seven sons of Veit followed his footprint and became bakers. Son Johann Simon was a baker at Frauenaurach. Son Johann became a baker at Erlangen and acquired the title “Hofbeck” (Court supplier).

Johann ( II ) Schiedmeyer in Erlangen

The first son of Johann II, named Johann Balthasar was born October 25th of 1711. From this moment on we noticed that they changed occupation. Johann’s offspring became carpenters and joiners and instrument makers.

The Musical Dynasty

Johann Balthasar in Erlangen

Johann Balthasar worked as a Carpenter and Joiner, thus able to build a musical instrument’s corpus. A few years later it became clear he had  - as an autodidact – evolved to be a musical instrument maker, a keyboard builder.
Out of three of the sons of Johann Balthasar (Johann Christoph Georg, Adam Achatius and Johann David)  Johann David became very famous for his skills as a Klavierbauer (builder of keyboard instruments). He was trained at the Augsburg factory of Steiner.

Johann David - Erlangen / Nürnberg

We know of Johann David that he gained famousness all over the German-Catholic Empire, and soon after that even outside of the Empire. From his workbook we know he emotionally had to say ‘goodbye’ to this instruments. In his case these are Schiedmayer Flügel. Instruments built by Johann David were sold to cities like Riga, Leipzig, Königsberg, Bremen, Hamburg, Würzburg, Erfurt and Jena. His instruments are mentioned in Volume 4 of the Lexicon by Ernst Ludwig Gerber.  Another proof of his eminent skills would be the fact that in 1800 he had received orders for 8 years ahead! And we have to keep in mind that his instruments were expensive.

Johann David had apprentices in his workshop, most of the time they caused quite some troubles.  Historic documentations shows that most of his time he worked alone.  About 1802 it shows that his son Johann Lorenz started his training with his father. And he showed to be a good help for his father.
Johann David not only built Flügel, he also repaired and maintained violins. He also rented out keyboard instruments and had a busy practice as a tuner. Keyboards in those days had to be tuned a few times each month.

A salient detail: He charged 24 Kreutzer for tuning. Of all people the rich clients were the ones not paying invoices but instead believed that a gentle “thank you very much” would be enough payment for work done. (You know, : Lesson One of “How to become rich in short time”). Happily he also noted this barbarism in his workbook.

From the Lexion of Gerber mentioned earlier, we know that Johann David decided to leave Erlangen and to settled his firm at Nürnberg in 1797. His life ended. Only a single line was dedicated to him in the churches record:

“Johan David Schiedmayer, Instrumentenmacher auf dem Witzenberg, gest. d. 24 März 1805 (Sonntag), 3 fl. Leich.”

(Whatever the italic text means (the cost of burial?), I will check with mrs. Elianne Schiedmayer).


Johann Lorenz - Erlangen - Nürnberg - Wien - Stuttgart

Clearly the talents of father Johann David were inherited into the son Johann Lorenz.  Just at age 19 when his father passed away, his training proved to be sufficient to continue his fathers business. In 1805 he built his first pianoforte single handed.  However this did not blur his mind to know he had to be - like his father did – trained by a Grand Master in building keyboard instruments. Johann Lorenz however lacked one quality. His predecessors were all inclined to make notes in workbooks and diaries. Johann Lorenz went to Vienna to be trained and he wrote… nothing. We even don’t know where he was trained.  

In Vienna the Streicher firm was ‘weltberühmt”, building pianofortes with the “Vienna mechanism’ in itself a variety of the ‘German mechanism’ dating back to the work of Andreas Silbermann. Yes, indeed the Saxony organ builder.

Ludwig van Beethoven had a distinct preference for Streicher pianofortes. However, Beethoven had a small problem.  Where ever he would perform on pianoforte, he demanded that two (!) Streicher instruments should be available, because the Streicher instruments were not able to cope with the Beethoven powerful style of playing. To avoid that this anecdote should sound unbelievable, here is a full quote:

“So swach ware noch die Widerstandsfähigkeit der alten Wiener Instrumente, daß nach kurzer Benützung durch Beethoven, der allerdings ein feuriger und temperamentvolle Spieler war und weit mehr dynamische Konstrastwirkung anbrachte, als die Virtuosen der älteren Schule es taten, ein Teil der Saiten abgesprungen am Klavier hing.“

"[The lack of strength of the instruments with the ‘old Vienna mechanism’ made that – only after a short time of playing by Beethoven, and he was a furious and temperamental player using much more dynamic contrast than the ‘old virtuosi’ – the string hung out broken from the pianoforte."

Intermezzo: Nanette Streicher in Vienna

Johann Balthasar was a trainee at the workplace of Johann Andreas Stein (1728-1792) in Augsburg. The sixth child of Stein was Nanette. After her father died in 1792 she continued her father’s firm in Augsburg. The next year, 1793, she married the musician Johann Andreas Streicher and she moved the company to Vienna. From 1802 the company was named ‘Nanette Streicher born Stein’. Nanette died January 16th 1833.  

The presence of Johann Lorenz in Vienna created a direct link between his father Johann Balthasar and his wandering in the instrument building of Vienna where he observed and studied the pianoforte in the turbulent city of Vienna.


Nanette Streicher-Stein * 2 January 1769, Augsburg – † 16 Januari 1833, Wenen)


Development of the pianoforte in Vienna

After his father’s death, Southern Germany is occupied by Napoleon’s armies. Economy suffered severely from being occupied. Johann Lorenz decided to find prosperity elsewhere and left Nürnberg. He travelled to Vienna on ‘pedes apostolorum’, on foot. A trip of merely 482 kilometres = 299.5 miles.  

During his wandering in Viennese musical circles Johann Lorenz studied the pianoforte and learned about the weaker qualities of the Vienna mechanism. This type of mechanism is a development and improvement of the German mechanism, dating back to the Saxony organ builder Silbermann.
In Johann Lorenz days in Vienna instrument making there was an eager and intense interaction and exchange between the instrument makers and composers and keyboard virtuosi. The tone had to be stronger, louder. Although it did not change rapidly, the builders did indeed react upon the exchange of ideas. They accepted they had to cope with playing full chords and the wish for more dynamics. As mentioned before, Beethoven played a significant role in this process.

Here it is relevant to remember that Johann Lorenz was one of the first in Germany to adopt the English mechanism.   

Dieudonné & Schiedmayer - Stuttgart

Born in Stuttgart, Carl Dieudonné was a trainee in the company of Nanette Streicher born Stein. In 1809, Vienna was occupied for the second time by Napoleon and his troupes. This led to the decision of both Carl and Johann Lorenz to challenge their luck at Stuttgart, where – as they believed – were hardly any keyboard makers to be considered to be ‘of great importance’. Carl had his daydreams of financial support by third parties in Stuttgart. When it occurred to Johann Lorenz Carl had dreams only on this, he for a moment considered to return to Nürnberg. However, the tidal waves changed directions rather rapidly. The moment they noticed they had no financial troubles with no help from third parties, they decided a company could survive in Stuttgart and would be prosperous.  

 

STILL under construction