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Christopher Brodersen

(b Bethlehem, PA, 1947). American oboist and maker of early oboes and bassoons, based in Germany. After initial studies at the Oberlin Conservatory, he enrolled at the Schola Cantorum Basiliensis, studying Baroque oboe under Michel Piguet (1932–2004). Hailperin graduated from the Schola Cantorum in 1970, with the first diploma in Baroque oboe performance from that institution. In 1971 he joined the Vienna Concentus Musicus under Harnoncourt. Hailperin participated in numerous recordings and tours with the Concentus Musicus during the period 1971–9. During this time he began building instruments, following short internships with recorder makers Bob Marvin and Friedrich von Huene. With the encouragement of Jürg Schäftlein, Hailperin made copies of the Paulhahn oboe in the Harnoncourt collection; these copies were soon in demand by leading players. Hailperin’s reconstructions of the Eichentopf oboe da caccia, based on two originals in Scandinavian museums, were the first modern copies to use a brass bell....


Ron Emoff

[Christian ]

(b Wanda, MN, Dec 25, 1922; d New Ulm, MN, Dec 11, 2007). American maker and player of concertinas. Of Bohemian ancestry, he grew up listening to his mother, Anna Schroeder Hengel, sing German folk songs and popular tunes while accompanying herself on the organ. He was greatly influenced and inspired by concertina player “Whoopee” John Wilfahrt, also of Bohemian ancestry, whose recordings he heard as a child. At the age of 14 Hengel acquired his first button accordion, a mail-order Hohner factory-built instrument. He later switched to the Chemnitzer-style concertina (a bisonoric button instrument that sounds different pitches on the pushing in or pulling out of thee bellows). He never learned to read music instead playing entirely by ear. He performed with the Jolly Brewers Band and the Six Fat Dutchmen during the 1950s; he also played with Wilfahrt’s band. In 1953 Hengel acquired the entire contents of the Chicago factory of Otto Schlicht (maker of concertinas under the brand names Patek and Pearl), and in ...


Benjamin Vogel

[Bartholomaeus] [Kicher, Kecher]

(b Kraków, Poland, 1548; d Kraków, Jan 9, 1599). Polish organ builder, wind instrument maker, and musician. He was enrolled in the royal chapel in Kraków as a boy singer about 1558, and is recorded as a wind instrument player (fistulator) there from 6 January 1565 at least to 1572. He also ran a musical instrument workshop, probably taking over from his father. His posthumous inventory, known from a copy in the State Archives, Kraków, lists 120 (completed) instruments, 336 uncompleted, 10 old, 2 violins (bass and descant), 4 keyboard instruments and 1 old one (an octave spinet or clavichord by his father), 2 Nuremberg regals, and 16 trumpets. Kiejcher became a very wealthy owner of two houses. His son Krzysztof was an organ builder and organist.

B. Vogel: Słownik lutników działających na historycznych i obecnych ziemiach polskich oraz lutników polskich działających za granicą do 1950 roku...


Melanie Piddocke

(b Kirchheim, Germany, Feb 21, 1746; d Vienna, Austria, June 25, 1792). German musician, composer, and woodwind instrument maker active in Pressburg and Vienna. Lotz is first documented as a clarinettist: on 17 Dec 1772 he performed a clarinet concerto in a Tonkünstlersocietät concert in Vienna, and in 1775 performed his own clarinet concerto in Pressburg. About this time Lotz became of a member of Cardinal Batthyány’s orchestra in Pressburg, where he served as first clarinettist, played viola when necessary, and directed rehearsals. Lotz remained a member of this orchestra until it disbanded in 1783. It has been suggested, without evidence, that Lotz was a member of the orchestras of Cardinal de Rohan (until 1774) and Prince (Johann?) Esterházy.

Lotz is remembered primarily as an innovative instrument maker. He made for Anton Stadler the basset clarinet for which Mozart wrote his concerto k622. C.F. Cramer (Magazin der Musik...


Paula Conlon

[‘Doc’ Tate ]

(b Fletcher, OK, July 3, 1932; d Lawton, OK, March 5, 1996). Native American (Comanche) maker and player of juniper flutes. He attended the Fort Sill Indian School and Haskell Indian Institute. He learned flute making from the Kiowa maker Belo Cozad (1864–1950) and the Lakota maker Richard Fool Bull (1887–1976). He used the traditional method of splitting the wood, carving the channel, boring the holes, and inserting the plug, then gluing the flute back together with sap, binding it with leather thongs, and attaching the external block. His first album, Indian Flute Songs from Comanche Land (NAM 401C, n.d.), was the first commercial recording consisting entirely of music for solo Indian flute. He introduced new playing techniques, including cross-fingerings to extend the range, and extending the warbling sound on the lowest tone to all the available pitches, thus expanding the flute’s repertoire and contributing to its revival in the latter 20th century. Tate (the English name given to him) was recognized as a National Heritage Fellow in ...


Patrizio Barbieri

(b Amatrice, Rieti, Italy, 17??; d Amatrice, Italy, 16–17 March 1804). Italian amateur flutist, composer, and developer of the flute. Orazi served as an army lieutenant in Naples and Spain and on retirement returned to Amatrice, on the northern border of the Kingdom of Naples. In 1797 he published a short treatise illustrating his invention and fabrication of a new type of transverse flute; printed separately at the same time were two ‘enharmonic’ trios he wrote especially for this instrument, incorporating themes by other composers. His aim was to make the flute more competitive with the violin by extending its range down to g; increasing the upper range and facilitating emission of high notes; and enabling it to perform quarter-tones so that portamento effects could enhance its expressive potential.

The instrument was essentially a normal concert flute in D (‘flauto corista’) equipped with four closed-standing keys (E♭, F, G#, B♭). To it was added an extension partly bent back on itself for more convenient positioning of the keys, allowing one to play chromatically from ...


Timo Leisiö

[Feodor Safronoff ]

(b Soikkola, Russian West Ingria, Nov 7, 1886; d Helsinki, Finland, Jan 5, 1962). Ingrian musician and instrument maker who became a symbol of Finnish folk music. As a boy on the southeastern shore of the Gulf of Finland he worked as a shepherd during several summers and learned to make and play local flutes (soittu), trumpets (wooden torvi, truba), and the Baltic psaltery (kantele). Being an orphan he lacked social status, and therefore emigrated to Finland in 1913. During World War I he played the french horn in a Russian army band. After Finland gained independence, in 1917, he settled there, changed his name Feodor Safronoff to Teppo Repo, and worked as a policeman and later as a mechanic (chiefly employed by the Singer sewing machine company); instrument making was always a part-time occupation. After starting to play Ingrian music in Helsinki he was recruited as an entertainer by patriotic forces in the early 1930s, and soon performed across Finland and abroad; his improvised melodies represented to his public the folk music of all Finnic peoples (Estonians, Karelians, Finns, etc.) even though his style was based on the music of his childhood and not truly representative of other national traditions. His flutes, horns, and trumpets, of which he made and sold an unknown number, can be found in museums from Japan to the USA. Some represent 19th-century Ingrian traditions foreign to Finland; others are of widespread European types. His straight and curved ...


Christopher Brodersen


(b Montreal, Quebec, 9 Feb 1952). American oboist and maker of early oboes, based in Eugene, Oregon. She studied modern oboe with Alan Vogel at the California Institute of the Arts (1970–75) and privately with Marc Lifschey (1971–3). Her Baroque oboe teachers included Ku Ebbinge and Stephen Hammer. She served as an adjunct instructor of Baroque oboe at the University of Southern California School of Music. Taylor began making Baroque oboes in 1985, after receiving initial guidance from the flute maker Rod Cameron and coaching in wood turning from a furniture maker. Otherwise, she is self-taught in her craft. She offers Baroque oboes after Schlegel and J. Denner, an oboe d’amore after Poerschmann, and a Classical oboe after Delusse. By 2012 Taylor had completed about 30 instruments and was the only maker in the USA to offer an oboe d’amore based on Poerschmann’s original (at ...