LEIBL, Ernst Robert – follower of Boehm & Mendler

Leibl

Very little is known about Ernst Robert LEIBL. It seems that he was born in Adorf in Vogtland, located in Saxony, Germany in 1871. Ernst Robert, or Robert LEIBL [which it seems he preferred] may well have been the son of Robert LEIBL. Robert LEIBL senior lived and worked for many years as a watchman for the mechanical cotton weaving company Gebrüder Uebel in Adorf. He was married to Friedrike Bönniger. Our Robert Leibl had at least one sibling – her name was Anna [more about her later].

The literature indicates that Robert was trained by Gebrüder MÖNNIG in Markneukirchen and then was a journeyman working for Karl MENDLER in Munich between 1889-1891. Robert began living in Nuremberg in 1899 and is listed as a mechanic first, and later as an instrument maker.

In 1903, he took over the whole Böhm & Mendler business which he brought to Nuremberg around 1904. He acquired all the drawings, machines, tools and finished and half-finished flutes. It must have been an exciting time for him and he published new price lists and information.

Market square, Nuremberg 1910

So far so good… but let us not forget the terrible times that were to come – two world wars.

Just before the start of the First World War (1914-1918), Robert’s sister Anna emigrated to the USA. Then Robert’s son, Albert (1906-1981) emigrated to the US in 1927 too. Albert became an American citizen in 1927. As a single man, he enlisted in the US army in 1943 for the duration of the Second World War (1939-1945).

Robert LEIBL kept his workshop running until 1944. In this 40-period it is estimated that he only made around 100 flutes. Only around 20 are thought to have survived.  It is not surprising that times were very tough indeed… many of LEIBL’s customers were in fact export clientele, especially Americans. He even started repairing typewriters.

In autumn of 1944, LEIBL’s workshop and home was bombed by the Allied Forces and everything was demolished. Nuremburg was a strategic target in World War II. This signalled the end of the great flute-making tradition of Theobald Böhm and Böhm & Mendler. All the original tools and drawings were completely destroyed.

Robert continued on as a music instrument maker at Austr. 88 in Nuremberg. His son and daughter-in-law Elise travelled to Germany by ship via Rotterdam in 1951. Perhaps they went to see him. Then on 28 January 1957, Robert died.

LIBRARY OVERVIEW

Flute – KLEMM, Carl August

This beautiful ebony flute was completely restored.It is stamped with the marks of Carl August KLEMM (1769-1830). He was born... read more

Bass ophicleide – A.G. GUICHARD

This bass ophicleide was made perhaps around 1840 in Paris by the August G. GUICHARD workshop. This important maker would... read more

Fife – CAHUSAC, Thomas Sr.

This boxwood fife is very old indeed. It was made around 1780–90 by one of London’s famous instrument-making families –... read more

Emil Rittershausen – Boehm flutes made in Berlin

Who better to make Boehm flutes than a flute maker who received first-hand training from Mr. Boehm himself? Carl Emil... read more

Schwedler-style flute – ADLER, Robert Oswald

This Schwedler-style flute was made by Robert Oswald ADLER (1865-1946). ADLER is another famous surname in German woodwind instrument making.... read more

Reform flute – V. Kohlert Söhne with Pupeschi system

This reform flute was made by V. KOHLERT SÖHNE. The Kohlert company was founded in 1840 by Vincenz Ferarius KOHLERT... read more

Flicorno – ROTH – CONTINI

Ever seen a flicorno before? We haven’t! This really special combined B-flat & F flicorno is one of a kind!... read more

Bassoon – HUITTL, Ignaz

The maker of this bassoon was Ignaz HUITTL. He was active making instruments around 1800 in the city of Kraslice... read more

E. Rittershausen, Berlin

One of the beautiful stories of mythology tells of the way the first musical instrument was suggested. As the story runs, as Orpheus was walking along the shores of the sea, his foot struck a reed that had been cast up by the waters, and had dried in the sun. The reed gave forth a soft, sweet sound as it was made to vibrate by the stroke of Orpheus’ foot and the result was the lyre or hand-harp of the ancient Egyptians. A similar story, and probably the same one adapted to the wind instruments, is that of Lucretius which says that “the simple flute had its origin from the breathing of western winds over certain reeds,” and thus was suggested the musical pipe, or simple tube, which has developed into one of the most fascinating of instruments.

The most elaborate and beautiful collection of flutes ever displayed in the United States, and probably in the world, was seen by visitors to the German section of the Columbian Exposition. The display was that of E. Rittershausen, of Berlin. It was arranged in a large, square glass case, and consisted of flutes made of various woods, of Ebonite and of sterling silver. The Rittershausen flutes are the standard of the world, and have received the indorsement of the best performers upon this favorite instrument. Until 1832 the flute was not regarded as a perfect instrument. In that year Theobald Boehm, of Munich, brought the instrument to such a degree of perfection as to make it one of the most prominent of orchestral and solo instruments. The Rittershausen flutes are made exactly upon the Boehm system, and with such wondrous skill and delicacy of workmanship as to have long since become the favorite of discriminating flutists. It is, in fact, the instrument universally referred to when the Boehm flute is desired.

Like the illustrious Boehm, Mr. Rittershausen is also a virtuoso as well as a manufacturer, devoting his entire faculties to the production of a perfect flute. By his own practical skill he is enabled to appreciate the many details and requirements in the construction of such an instrument as is demanded by the most fastidious virtuoso. This, it will readily be seen, is an invaluable consideration in the selection of a flute by a skilled performer. And in the rapid progress of musical culture of America, there are many lovers of the beautiful instrument who are its admirers and enthusiastic students at the present time.

Living in the musical city of Berlin, Mr. Rittershausen is thrown in personal contact with the greatest flutists of Europe, thereby receiving many suggestions from them that are of incalculable benefit in the manufacture of his instruments. The Rittershausen factory is located at 107 Bergmann street, Berlin, and its product has been famous from the establishing of the present business in 1870. Each year adds largely to the number of Rittenhausen-Boehm flutes in use in America, and they have received the highest testimonials from the most famous composers and performers in this country as well as those abroad. The American representative of the Rittershausen flutes is Mr. Carl Fischer, No. 6 Fourth Avenue, New York.

Musical Instruments at the World’s Columbian Exposition – Frank D. Abbottt, Charles A. Daniell – 1895 – P. 200