Finding the flute of an outstanding flute virtuoso

Flutes

When it comes to antique or original instruments, it’s normally a huge bonus if we have a maker’s stamp to identify and date the instrument. New owners are then happy to know some details about the maker’s background and the properties of the instrument itself. Organology, or the study of musical instruments, is extremely fascinating. But, finding out who actually played the instrument you own is something on another level… and more so if that person was an ‘outstanding flute virtuoso’. 

That’s exactly what happened to one of Europe’s leading flutists.

Flea market find

It was early in the morning at a flea market in Zurich that someone, a friend, clapped his eyes on an interesting looking flute in an old case. It seemed to read something like ZIEGLER???, but was in a bit of a sorry state. A phone call followed and the item was snapped up before others could get their hands on it. Months passed before a decision was made to have it restored and it was brought to us. It needed to be returned to professional playing condition.

Viennese flute

The flute itself was of course not just any flute, but rather an exceptional flute by the Viennese master Johann ZIEGLER (1794/5-1858). It was a late-Romantic flute made of finely selected and varnished dark wood with a beautiful luscious shine.  It had full Ziegler key work down to B-flat, pewter plugs, tuning slide and even a lever for the D-sharp key. This made it possible to open this key with the left thumb. The flute came in its original leather case, complete with screwdriver – which was spectacular and beautifully crafted. The flute needed full restoration. Then, there was the name plate…Often, name plates on these instruments are not engraved or were removed to be replaced over the years by other names. This one read W. Soller !

W. Soller – the Swiss flute virtuoso

(Heinrich) Wilhelm SOLLER was born in Basel, Switzerland on 17 June 1852. His father was Johann Wilhelm Heinrich Soller and his mother, Katharina Margaretha Soller (nee Frei) who were married in Basel in 1849. Wilhelm went to study with Jean DUMON (1829-1889) at the Royal Conservatory of Brussels, where he won first prize for flute in 1871 at the age of 20.

Wilhelm Soller
Portraits and Biographies of Outstanding Flute Virtuosos – Adolf Goldberg

Soller went on to work at the Tonhalle-Orchester Zürich which was formed in 1868 and also the Theatre Basel.  He was a member of the Allgemeine Musikgesellschaft in Basel.

He was very much admired by audiences judging by the reviews in the newspapers, including this one from Neue Zürcher Zeitung in November 1875.

‘Mr Soller is an excellent instrument player; his playing is songful and soft; his technique is precise and he overcomes any difficulties that arise with ease. We are delighted to have such an excellent artist in our orchestra. We already have a number of talented players in our wind section, and we hope that in time we will also be able to recruit artists of equal calibre for those instruments that still leave something to be desired.’ [Translated from the original German.]

Bayreuth Festival and Royal Chamber Musician

In 1882, Soller appeared for the first time in the Royal Court Orchestra Munich Calendar for the Royal Court Orchestra as one of four flutists with Rudolf TILLMETZ (1847-1915) as Royal Chamber Musician.  He remained in this position until 1891 when he became the orchestra’s piccolo player.

During his time in Munich, he also taught flute at the Royal Cadet Corps around 1888.

In 1883, he played in the Bayreuth Festival Orchestra. At that time, Richard WAGNER (1813-1883) had died and his wife Cosima WAGNER was left in charge. She did not participate in the 1883 festival, and it went ahead as planned by Wagner, with 12 performances of Parsifal.

Maybe Soller used this particular instrument for Bayreuth and Wagner’s Parsifal. It would have certainly been a very wise choice.

In 1884, Soller married Auguste SCHALLER from the town of Wemding in Bavaria. She was the daughter of a gas lighting official (Gasbeleuchtungsbeamterstochter). Soller lived in various places in Munich, including Klenzestraße, Ottostrasse, Karlstrasse, Johannisplatz and finally at Promenadeplatz 16 in Munich in 1891. This was a very prestigious home, right in the centre!

Soller sadly died in Munich at the young age of 39 on 2nd August 1891. His wife continued in Munich until at least 1930.

Restored and ready for action

Following meticulous cleaning, restoration and lots of love and care, the flute was brought back to its former glory. It was ready for a new life and exciting performances. Its new owner can be happy to own an exceptional instrument, previously played by an outstanding musician.

LIBRARY OVERVIEW

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Piccolo – RITTERSHAUSEN, Emil

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Emil Rittershausen – Boehm flutes made in Berlin

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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