Emil Rittershausen – Boehm flutes made in Berlin

Rittershausen

Who better to make Boehm flutes than a flute maker who received first-hand training from Mr. Boehm himself? Carl Emil Cäsar RITTERSHAUSEN (1852-1927) or just Emil Rittershausen worked at Boehm & Mendler before he set up on his own in Berlin to make Boehm flutes and piccolos. Theobald Boehm described him as his “best worker” and Emil Rittershausen would certainly become synonymous with superior quality handmade flutes and piccolos from Germany.

Emil Rittershausen
Image courtesy of Mehnert Böhmflötenbau, Ottenbach, Germany
www.mehnertfloete.com

Berlin beginnings

Carl RITTERSHAUSEN was born in 1852 in Berlin. He was the son of a flour dealer. Where he first learnt how to make instruments is not completely clear. The literature tells us that he was perhaps first in Vienna before he worked for Boehm & Mendler. This was a company forged by Theobald BOEHM (1794-1881) and Carl MENDLER (1833-1914) that operated between 1862 and 1888 in Munich.

In 1876, Emil Rittershausen set up his own business in his native Berlin and from the onset specialised in the construction of cylindrical Boehm flutes and piccolos in wood and metal. He married Mathilde Emilie Auguste BORK (1857-1933) on 1 Oct 1884.

Rittershausen managed to rack up awards and prizes both at home and abroad. One example was the World’s Columbian Exposition from May 1 to October 31, 1893. [It was actually held in Chicago and not Columbia, to celebrate the 400th anniversary of Christopher Columbus’s arrival in the New World in 1492.]

An amazing review of the exposition and Rittershausen flutes two years later must have certainly made sales soar.

“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.”

Click E. Rittershausen review to read the full review.

Indeed, it seems that everyone wanted a Rittershausen flute. He even started to make gold flutes. One was played by the Grand Duke Michael Alexandrovich of Russia, another by the flute virtuoso Alfred LICHTENSTEIN and a third by Adolf GOLDBERG who later passed it on to Emil PRILL (1867-1940), who played on it for many, many years.

Rittershausen-Fischer connection

Emil Rittershausen’s global success can also be attributed to a certain Carl FISCHER (1849-1923). Born in 1849 in Buttstädt, in Thuringia, Germany, the literature tells us that Carl Fischer was a violinist who studied music in Gotha. He worked together and was trained in instrument making by his younger brother August Emil Wilhelm FISCHER (1840-1920) in Bremen. Then he even worked with Henry DISTIN (1819-1903) in England before he emigrated to the US in 1872. On arriving in New York, Carl Fischer set up a small musical instrument repair shop in the city’s East Village neighbourhood – at the same time playing the violin professionally. He expanded into sheet music publishing as well as the retail of music instruments and accessories – many imported from France and Germany. His product range was included in catalogues and items could be easily ordered by mail. He published a musical trade paper called the Musical Observer. This self-made businessman would be at the helm of one of Americas most successful music publishing firms. Now over 150 years later, Carl Fischer Music continues with its headquarters in Wall Street.

Carl Fischer – courtesy of Carl Fischer Music
Carl Fischer store – courtesy of Carl Fischer Music

We don’t know where or how Emil Rittershausen and Carl Fischer met. From 1895, Carl Fischer would become Emil Rittershausen’s dealer in the USA and Canada. After Emil Rittershausen won the Grand Prize at the St. Louis Exposition in 1904, Carl Fischer wrote in the Music Trade Review,

“Wherever flutes are considered the name of Rittershausen is most favorably and honorably mentioned. The Rittershausen flutes and piccolos are truly wonderful creations. The tone is mellow and liquid as the rippling of the waters, correct tune in both highest and lowest registers, mechanism more perfect and durable than was ever imagined possible, and their beautiful appearance makes them indeed works of art.”

The Rittershausen flutes and piccolos sold by Carl Fischer were stamped with the regular E. Rittershausen stamp, a serial number and the name Carl Fischer, New York.

The First World War changed everything… for everyone.

Rittershausen flutes

Emil Rittershausen trained some very important instrument makers. Among them were Conrad MOLLENHAUER (1876-1943), Richard WUNDERLICH (1860-1934), Franz MEHNERT (1893-1978), and Philipp HAMMIG 1888 – 1967.

Rittershausen instruments were made by hand and Emil Rittershausen worked with the leading flutists of the time to develop his instruments. Some new improvements made included the split E mechanism, high G/A trill and offset G and G-sharp key.  

Serial numbers were used from around 1896 (although many instrument have no serial number) and are provided here by combining details from the New Langwill Index and Gunter Dullat’s  Verzeichnis der Holz- und Metallblasinstrumentenmacher auf deutschsprachigem Gebiet von 1500 bis Mitte des 20. Jahrhunderts.

1000 – c.1896
3500 – c.1908
5000 – 1921
5500 – c. 1935
5671 – 1943
5744 – 1951

Rittershausen successors

Emil Rittershausen died suddenly after a short illness in 1927. His widow had worked in the business herself – the pads she made by hand for the flutes were held in very high esteem. She therefore carried on with the 4-6 workshop workers and 3 homeworkers until her death in 1933. We must assume there were no successors, as in her will, she left the entire business in equal parts to the two masters and employees Josef PLEYER (1871-1946) and Paul DÖLLING (1880-1952). It is thought that the company was bombed in 1940 and then the glorious era of Rittershausen flutemaking ended with their deaths. The company did continue to operate for a while longer. Paul Dölling sold it to the Berliner, Reinhard KOWALEWSKI who was not a skilled craftsman and therefore was not legally able to operate in that capacity in Berlin. He was involved in some musical instrument retail for some time and nothing is known about him after 1954. The Rittershausen company was eventually deleted from the commercial register 1972.

Rittershausen Boehm flutes – a piece of history

Rittershausen Boehm flutes and piccolos can still be found up for sale today in many locations. Crafted in cocuswood, ebony, nickel silver and solid silver, they continue to attract players and collectors worldwide. It’s never too late to own an instrument by a Boehm flute specialist – a perfect piece of history and a “truly wonderful creation”.

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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