( b 1872; d Switzerland, Jan 1938). Italian flute maker, flautist and composer . He was a flautist at La Scala, Milan, from 1897. In 1910 he invented his ‘Albisiphon’, a vertically-held, Boehm-system bass flute in C, with a T-shaped head, which he described in his Albisiphon: flauto ottava bassa (Milan, 1910). It was used by, among others, Mascagni in Parisina (1913), and Zandonai in Melenis (1912) and Francesca da Rimini (1914). The Dayton Miller Collection (Library of Congress, Washington, DC) possesses two models of an ‘albisiphon baritono’ in C and a tenor in F. There is also an example of another invention which Miller termed ‘half flute in C’ (that part of a regular flute played by the left hand, with a wooden handle for right hand) for which Albisi composed a concerto. He also made flutes in collaboration with the Milanese maker Luigi Vanotti in about ...
E. Eugene Helm
revised by Martin Elste
(b Berlin, 1748; d Berlin, May 26, 1809). German viol player and instrument maker. He was a viol player in the royal chapel from 1765, and in 1770, together with J.F.E. Benda, he established the Berlin Liebhaberkonzerte. With Benda’s death in 1785 Bachmann succeeded him as director of the concerts; in the same year he married the noted singer and pianist Charlotte Caroline Wilhelmine Stöwe. Throughout this period he also made instruments in the shop of his father, the violin maker and court violinist Anton Bachmann (1716–1800), and may have been responsible for several innovations, including a screw-tuning mechanism for double basses which he introduced in about 1778, although a similiar mechanism was already known in France, having been developed by Benoît Fleury in 1766. He continued alone in his father’s business from 1791, at about which time he passed the directorship of the Liebhaberkonzerte to his younger brother, the court violinist Friedrich Wilhelm Bachmann (...
Roger J.V. Cotte
(b Fockenhof, Kurland, Feb 14, 1722; d Paris, March 24, 1791). French dilettante, amateur violinist and composer, patron of the arts and instrument collector. A magnificent and very wealthy nobleman, he both amused and astounded his contemporaries. M. Audinot in his comic opera La musicomanie (1779), and possibly E.T.A. Hoffmann in his tale Die Serapionsbrüder (1819), attempted to evoke his strange personality, emphasizing its ridiculous nature.
At the death of his father, a landed nobleman, in 1747, Bagge inherited a large fortune which enabled him to study the violin in Italy with Tartini. By 1750 he had settled in Paris; in the following year he was awarded the title chambellan du Roi de Prusse (then Frederick II) and married the daughter of the Swiss banker Jacob Maudry. With Maudry's death in 1762 the very large inheritance proved a source of contention to the ill-matched couple and they soon separated. Bagge later attempted to gain possession of the inheritance of Mme Maudry, who had died in ...
revised by William Waterhouse
(d 1831). English woodwind instrument inventor, maker and player and music publisher. Having originally trained as a turner, he began his career playing oboe, flute and flageolet at two London theatres. As maker, his first patent was in 1803 for a new model of ‘English flageolet’, which, by changing the fingering of the tonic from six to three fingers, led in about 1805 to the development of his double flageolet model in collaboration with John Parry (ii) (1776–1851). Between 1808 and 1821 he was in partnership with John Wood as Bainbridge & Wood, writing and publishing tutors and music for his instruments. From cto 1835 the business was continued by Bainbridge’s widow Harriet, and thereafter until 1855 by his successor, Hastrick, whose mark usually included the words ‘late Bainbridge, inventor’.
The firm’s speciality was the ‘English flute’ or ‘English flageolet’ – not to be confused with the French or the ‘quadrille’ flageolet – in its single, double and occasionally triple form. In addition they made single and double concert flutes with flageolet-type heads to be held transversely. These instruments, designed for amateurs of both sexes, enjoued enormous popularity, the double flageolet being much plagiarised (in spite of two unsuccessful legal actions) by rival makers both at home and abroad. Bainbridge was perhaps the earliest wind-instrument maker with the all-round abilities required to launch such projects successfully, combining single-handedly as he did the diverse skills of inventor, performer, teacher, manufacturer, author and publisher....
(fl London, 1643–80). English trumpet maker and court trumpeter. A medallion, dated by Byrne to 1643, shows ‘SIMON BEAL AET SVAE 28A’ holding a trumpet with a distinctive three-lobed ball on the bell pipe, possibly the earliest evidence of this English feature. Beale is known from two references in Pepys’s diary and other contemporary documents. He was said to work in Suffolk Street, London. In 1655 he supplied trumpets for a state occasion. His name appears in court records from the time of his appointment in June 1660 as a King’s Guard until February 1680, when his name appeared in a petition against one Joseph Wheeler, another trumpeter. His activities before 1660 are not clear, but Pepys stated that Beale had been one of Oliver Cromwell’s guards. He is reported to have made the tuba stentorphonica (‘speaking trumpet’), invented in 1670 by Sir Samuel Morland. In September 1675...
Howard Schott and Kenneth Gilbert
(b Ottawa, Dec 28, 1933; d Brignoles, France, June 16, 1989). Canadian harpsichord maker and harpsichordist. After classical studies he entered the Conservatoire de Musique in Montreal (1956), where he studied organ with Bernard Lagacé and harpsichord with Kenneth Gilbert. In 1959–60 at the Vienna Music Academy he studied harpsichord with Eta Harich-Schneider and had private lessons with Isolde Ahlgrimm (1959–60); he also studied at the Amsterdam Conservatory with Gustav Leonhardt (1960–61). After resuming his career as organist in Montreal, he served as musician-in-residence at the Shakespeare Festival, Stratford, Ontario (1962–3), and then entered the workshop of Frank Hubbard in Waltham, Massachusetts, to learn the craft of instrument making. In 1968 he moved to Paris as chief restorer in the Conservatoire workshop then being established under Frank Hubbard's direction. At the same time Bédard set up his own workshop with a small staff where he undertook restorations for other collections and produced harpsichords modelled on historical prototypes....
Edward H. Tarr
(b Winterset, IA, July 12, 1904; d Burbank, CA, Dec 12, 1960). American trumpeter and trumpet manufacturer. He studied cornet with William Eby, Vladimir Drucker, and Harold Mitchell, and trained as first trumpet in the Chicago Civic Orchestra. He was first trumpeter with the Detroit Symphony Orchestra (1928–33) and with the Chicago Symphony Orchestra (1933–9), then with the Chicago Philharmonic (1939–49) and also with the WGN (radio) staff orchestra (1939–53). Around 1934 Benge started to experiment in his basement with trumpet construction. He sold his first trumpet in 1935; in 1953 he moved to Burbank, California, to devote himself exclusively to manufacturing.
On his death the business passed to his son Donald (1933–2007), who in 1970 sold it to Leisure Time Industries of Los Angeles. After that, the company changed hands rapidly: in 1972 to the H.N. White Co. (King), who moved it to Anaheim, also expanding the number of models, then to Eastlake, Ohio, in ...
revised by Ludwig Böhm
(b Munich, April 9, 1794; d Munich, Nov 25, 1881). German flute maker, flautist, composer and inventor. He worked out the proportions and devised the mechanism which are the bases of the modern flute. Boehm was the son of a goldsmith, in whose craft he became fully skilled at an early age. In childhood he taught himself the flageolet and one-keyed flute; by the age of 16 he had already grown dissatisfied with the latter, and in 1810 made himself a copy of a four-keyed instrument by Grenser of Dresden. Around the same time he also made a nine-keyed flute with a movable golden mouth-hole, based on the ideas of Johann Nepomuk Kapeller (1776–1825), flautist in the royal court orchestra in Munich. In 1810 Boehm began flute lessons with Kapeller, who gave him formal instruction until 1812, admitting then that he had no more to teach him....
revised by Michael D. Friesen
(b Pampa, TX, Nov 10, 1936). American organ builder and organist. Bozeman studied organ performance at North Texas State College (now University of North Texas), but left in 1959 before finishing a degree to apprentice in organ building with Otto Hofmann of Austin, Texas. In 1962 he began working with the architect and organ historian Joseph E. Blanton in Victoria, Texas, to develop organ designs. He also did freelance organ work, and in 1965 entered the employ of Sipe-Yarbrough of Dallas, working under Robert L. Sipe, ultimately becoming vice-president of the firm. In 1967 Bozeman received a Fulbright scholarship to study organ and harpsichord performance in Vienna with Anton Heiller and Isolde Ahlgrimm, and organ building with Joseph Mertin (1904–98). He also travelled extensively in Europe, visiting and documenting organs. Upon his return in 1968 he went to work for Fritz Noack.
In 1971 Bozeman established his own shop in Lowell, Massachusetts, and the following year entered into partnership with David V. Gibson (...
( b Paris, June 13, 1799; d Paris, 5/April 6, 1839). French oboist, wind instrument maker and composer . He studied at the Paris Conservatoire from 1812 under Gustave Vogt, who shared Brod’s Protestant Alsatian background. Having received the premier prix in 1818, the following year Brod was appointed second oboist in the Opéra orchestra alongside his teacher. During Vogt’s absences in 1826 and 1828 Brod filled Vogt’s place as first oboist. The abilities of the two players were often compared; Fétis found Brod’s tone sweeter than that of his teacher. A statuette by Dantan jeune (Paris, Musée Carnavalet) caricatures Brod playing a musette. He died just 3 months before he would have been eligible for a pension to support his wife and young son. His widow petitioned repeatedly for support from the administration of both the Conservatoire and Opéra.
Oboes by Brod, some made in collaboration with his brother Jean-Godefroy (...