Schiedmayer Meister-Harmonium 1911

Bonjour à tous,

Ici, je présente ma dernière découverte avant - "Schiedmayer Meister-Harmonium", Stuttgart, 1911 - une petite forme d'harmonium d'art - il ya beaucoup de similitudes pour découvrir le type de Mustel - il doit avoir été un moment merveilleux au début du 20e Siècle.

Voici la disposition:

O - Forte expressif
2 - Clarinette 16'
5 - Aeolsharfe 8' (doubles Anches pour chaque tonalité)
4 - Oboe 8'
3 - Piccolo 4'
1 - Flöte 8'
1P - Flöte Percussion

E - Expression

1P - Cor anglais Percussion
1 - Cor anglais 8'
3 - Clairon 4'
4 - Horn 8'
5 - Aeolsharfe 2' (doubles Anches pour chaque tonalité)
6 - Subbass 16'
2 - Bourdon 16'
O - Forte expressif

Forte fixe [Forte], Metaphone [Dolce]
2 Kniehebel für Doppelexpression
3 Fußhebel für Prolongement, Grand Jeu, 3. Fußhebel (Vorbereitung für Celesta?)


Profitez de regarder la documentation de photo:

Magnifique instrument !
Mis à part la composition originale, c'est le clavier qui est particulier : l'étendue est un compromis entre les claviers français (do à do) et allemand (fa à fa). Ici, fa à do : 5 octaves 1/2.
La coupure est entre si et do (système allemand)...

Congratulations!!! extraordinary instrument. The coupure between C-H is really strange but unique!! I will add this to my discovery page which is heavily updated:
https://harmonium.forumactif.org/t1158p15-schiedmayer-dominators-and-scheolas#8504

Thanks to all - I was able to find many things, that it is a very special instrument - I think it was a special order for a customer (without Musette 16, Voix Celeste 16, baritone 32 right - everything else available). It has an incredibly beautiful sound.

The percussion is highly regulated - sometimes touch the hammers the Anches permanently - I must regulate yet - but I'm no expert - certainly not for percussion.

The bellows look like on the first day in 1911. The double expression I could regulate itself - it was all set incorrectly.

Ok, I finally get it,

this instrument was made for someone who loved to have a pressure harmonium (sharper reeds, double expression etc.) with a reed organ disposition and splitpoint.
as on most reed organs the 3's are located next to the 1's. They are the most important registers. Musette, voix celeste and baryton are not common on a reed organ.
If available the 16 foot stops are often located at the ends of the stop row (reed organs) as is the case with your instrument. looks like you have room for a Voix Céleste 16'

Quelqu'un peut-il expliquer pourquoi les Anches de Bourdon 16 sont créés dans la couche profonde sous la forme de terrasses (photos 12+13)? J'ai vu cet arrangement même à Mustel.

(Tone ou le comportement de la résonance?)

looks like you have room for a Voix Céleste 16'

Nils: Oh yes - the room is completely free - it was never built before a tongue there - I think it would be a 'Voix Celeste 16' "- where is the parts-store? :-) - It's all built - missing only the register-knob and the Anches - everything else is completely finished ... :-)

Voici encore une autre Schiedmayer Harmonium très tôt, Stuttgart. Le son est très français - influencé par Alexandre où Schiedmayer appris en 1853. Le numéro de série indique environ 1856 à 1857 - une preuve de l'âge exact n'a pas été trouvée à ce moment dans l'instrument.

Voici la disposition:

T - Tremblant
F - Forte 3 et 4
4 - Hautbois 8'
3 - Flageolett 4´
2 - Clarinette 16'
1 - Percussion ou Flûte 8'

E - Expression
G - Grand Jeu

1 - Percussion ou Cor Anglais 8'
2 - Bourdon 16'
3 - Clairon 4'
4 - Basson 8'
F - Forte 3 et 4
S - Sourdine

Profitez de regarder la documentation de photo:

Etes-vous sûr que la porcelaine du 2-Clarinette est dans le bon ordre? Car la disposition des anches est classique : 1  et 2 devant, puis 3, harpe éolienne et enfin 4 au fond. On voit sur les photos que les anches sont euphoniques.
L'emploi de l'allemand pour Subbass et Aeolsharfe est un peu curieux, alors que tout le reste est en français.
L'absence de voix céleste (malgré l'emplacement qui lui est réservé) me ferait plutôt penser que ce n'est pas une commande spéciale, mais un modèle proposé en catalogue avec différentes options de jeux. J'ai vu un Mustel où la basse et les fortés fixes étaient préparés dans le sommier mais il n'y avait pas les registres (différence entre 3A et 3C), preuve d'un travail en série.
Seul quelqu'un possédant un catalogue Schiedmayer pourrait confirmer...

alexandre1900 a écrit:

Quelqu'un peut-il expliquer pourquoi les Anches de Bourdon 16 sont créés dans la couche profonde sous la forme de terrasses (photos 12+13)? J'ai vu cet arrangement même à Mustel.

(Tone ou le comportement de la résonance?)

Le fond du caisson du Bourdon 16' est très incliné. Ainsi, s'il n'était pas découpé "en terrasses", la direction principale de vibration d'une anche frapperait la paroi de sa cavité, au lieu de sortir directement par le débouché de la soupape. On peut imaginer que cela en modifierait le timbre.

Il s'agit là d'une simple hypothèse, que je soumets à l'appréciation des spécialistes !
Pour l'appuyer : sur le Basson 8' d'un Mustel, dont le fond de caisson est aussi très incliné, mais moins que celui du Bourdon, on retrouve cette disposition "en terrasses", mais seulement pour l'octave la plus grave, c'est à dire les anches les plus éloignées de la face supérieure du sommier.

La soupape d'expression noire et ronde est typique des harmoniums Debain d'une certaine époque, aussi.

J'ai corrigé le Disposition - l'ordre est certainement droit - J'ai pris une décision différente, les noms - Je m'excuse (copy and paste ... avec l'ordinateur) - Voir ci-dessus pour - maintenant vous pouvez trouver l'orthographe correcte

Les déclarations à la disposition terrasses du Bourdon 16 '- je trouve très intéressant - merci! Je pense que cette conception a Schiedmayer volé Mustel :-)

N871 a écrit:

Ok, I finally get it,

this instrument was made for someone who loved to have a pressure harmonium (sharper reeds, double expression etc.) with a reed organ disposition and splitpoint.
as on most reed organs the 3's are located next to the 1's. They are the most important registers. Musette, voix celeste and baryton are not common on a reed organ.
If available the 16 foot stops are often located at the ends of the stop row (reed organs) as is the case with your instrument. looks like you have room for a Voix Céleste 16'

The order of the stops is congruent with the "Einheits Disposition"

L'ordre des arrêts soit en harmonie avec la « Einheits Disposition»

Ce petit soufflet est un mystère pour moi: il est situé entre les deux grands soufflets. Le petit gosse n'a aucune afflux de vent. Le cuir a de petits trous - quand on comprime - il revient sur lui-même. Il ya un ressort en elle?

Quelqu'un peut-il expliquer ce que ce petit soufflet me sert? Merci pour votre aide.

to make it easier to use the grand jeu. Especially practical on the bigger models where all registers are included in it.
Which registers are included in your grand jeu? I can imagine it differs from the "standard" models.

thanks Nils, but the little bellow is present in this model - but not in function

The Grand Jeu is pulling out all the stops in this model 1 - 4 + floating Aeolines

this model really differs in many ways from other models

by the way: Prolongement in this model 12 notes - F ---> E

these are the best pictures I have at the moment..




just like the third heel lever, this bellow might have been present (standard) but needed on your instrument as it has less stops than the big models.

interesting to hear the prolongement is again only 12 notes, makes sense as the split point is b/c. this I have to correct in my Schiedmayer post.
On some big Schiedmayers with 6 octaves (fa to fa) the prolongement is 19 notes. All model Strauss dominators have prolongements of 15 notes (A to h)

If you don't like to have all registers included in the grand-jeu you could easily bend the metal bars to exclude the registers ondulants, but..
as this instrument differs in so many ways from a regular kunstharmonium, I would leave it like it is, truly unique

Oh thank you Nils - now I understand the meaning of small bellows - it lacks a small strip of wood from the lever of the Grand Jeu - if I add this little bar has the small bellow the function as in your instrument - many, many thanks! I'll fix this. A strip of wood can be added easily.

I see no problem with the big Grand Jeu (with ondulants) - someone had once bent the little metal hooks that do not sound ondulants. But I have replaced the condition of the original ---> with great attention!

In my opinion, each instrument has its own soul and its own history. In this particular model, everything should remain as it was once thought by the former owner of purchase.

There is a piece of music that fits exactly to this instrument - do you know it? --- http://javanese.imslp.info/files/imglnks/usimg/7/71/IMSLP62719-PMLP128026-Kistler__Cyrill._Gro__e_Fantasie_f__r_Konzertharmonium__Op.77.pdf --- you can see on this piece of music that ondulants Grand Jeu at this time quite corresponded to the taste of the time.

I agree with many things you say, but for me a 32' should never be included in the grand jeu, which is the case on the bigger models.
I just want to be able to perform the repertoire, so I did change it on my instrument.

However, in the harmoniumschule by Paul Schmidt it is first stated that the meisterharmonium-grandjeu includes all registers accept for some.


So included are ( 8 ) 7 4 3 1p - 1p 2 3 4 5 6 8 9.

I really like the sound of this grand-jeu when playing chordal passages. However, if you play the beginning of Karg-Elert's second sonata for example it sounds terrible,
because none of the 16's are included in the bass.

Later he tells something completely different:


This grand-jeu makes more sense, all registers included except for 2' and 32'. This was how my instrument was working when I got it. The metal arms for 2' and 32' are
however present and just bent.

At the moment I'm quite pleased with the 1-4 grand-jeu. However, this way registers 7 (left) and 9 (right) are practically never used. Maybe I will change it back again to
how it was working first.

Another option would have been to use all register in the grand-jeu except for the ones that can be called for in the repertoire, resulting in the following:
G = 7 6 4 3 2 1p 1p 2 3 4 9...

Thank you for the new score, I didn't know this one. With your instrument, the first score I would buy is Karg-Elert's opus 103.
Please upload some audio demos in time!

Yes, I have one or the other piece already tried and played - but I have no good technique for recording (I take my notebook ...) - do you have a good recommendation for recordings (micro, recorder etc.)?

Yes I do => tascam pocket recorders, used by many classical musicians, for €200-300