Schwedler-style flute – ADLER, Robert Oswald

Flutes

This Schwedler-style flute was made by Robert Oswald ADLER (1865-1946). ADLER is another famous surname in German woodwind instrument making. Robert Oswald was born in Hermsgrün in Vogtland, Germany. He learnt how to make woodwinds with his father Johann Gottlob Adler (1825-1900) and spent some time working in Magdeburg for Hermann SAUERHERING (1840-1909).

He set up on his own in 1891, as successor to his father, and started the brand name “Roa”. He made flutes, clarinets and other woodwinds, and was especially famous for his tarogatos. His grandson, the late Gottfried MEINERT (1935-2024), would succeed him and continue on with the business.

This is a Schwedler-style flute. It features some of the improvements of the 1895 Schwedler model. German flutist Maximillian SCHWEDLER (1853-1940) was the leading flutist in Leipzig’s Gewandhaus Orchestra and taught flute at the city’s conservatoire. He was a strong supporter of the ‘old’ conical bore wooden flute rather than the new Boehm flute. So, he worked on making improvements to the ‘old’ flute for it to become the reform flute with flute maker Carl KRUSPE Junior (1865-1929).

So, in terms of special features, it has the brille – the German word for spectacles – as it looks like a pair of spectacles. This consists of ring keys for finger holes 1 and 2. There is also an extra pad for a small tone hole between these two finger holes. The brille moves together by rotating on an axle. The flute also has the 1898 metal head joint and ebonite lip plate.

This three-part flute, complete with tuning slide, is crafted in grenadilla and has a nickel silver mechanism and rings. The head joint is nickel silver with nickel plating.

This flute plays at around a=436 Hz and is in good condition with no visible cracks. It has a pleasant, soft and smooth sound. It speaks easily in the high registers and has good intonation.

LIBRARY OVERVIEW

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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