Scan 616
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
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1book for the singing of Chorals in Roman Catholic churches (Q.-L.; Riemann).
3SCHIEDMAYER. Two firms of this name in Stuttgart have enjoyed wide reputation as pianoforte-makers, viz. 'Schiedmayer & Sons' and 'Schiedmayer Pianofortefabrik; vormals, J. & P. Schiedmayer.'
5(1) JOHANN DAVID SCHIEDMAYER (d. Nuremberg, 1806) towards the close of the 18th century was a musical instrument maker at Erlangen, and afterwards at Nuremberg. His son, (2) JOHANN LORENZ (b. 1786; d. 1860), went after this for two years to Vienna as a workman, and in 1809 established a business at Stuttgart in partnership with C. F. Dieudonné (d. 1825). Before that time pianoforte-making was virtually unknown in Stuttgart, those who required satisfactory instruments obtaining them from Vienna. Lorenz Schiedmayer's intelligence and aptness for business gained a position for his firm, and it soon became one of the first in Germany. In 1845 Lorenz united his two eldest sons, (3) ADOLF (b. 1820; d. 1890) and (4) HERMANN (d. 1861), to himself, and 'Schiedmayer & Sons' soon became as well known in foreign countries as in Wurtemberg. The sons of the brothers Adolf and Hermann, bearing the same Christian names, were for many years the directors of this firm, which has made both concert and ordinary instruments, and has competed with success in London and Paris and other exhibitions.
7The two younger sons of Johann David, (5) JULIUS (b. Feb. 17, 1822; d. Feb. 1878) and (6) PAUL (d. June 18, 1890), at first devoted themselves to harmonium-making, then of recent introduction, a practical knowledge of which had been gained by Paul in Paris. They started together in 1854, but after the death of the father in 1860, turned to pianoforte-making in competition with the elder firm, and the younger firm became known as 'Schiedmayer Pianofortefabrik.'
9Special mention must be made of Julius Schiedmayer's prominence as an expert in the juries of the great Exhibitions of London, 1862; Paris, 1867; Vienna, 1873; and Philadelphia, 1876.
11A. J. H.
13BIBL.—A. EISENHANN, Schiedmayer und Söhne. 1909.
15SCHIEVER, ERNST (b. Hanover, Mar. 23, 1844; d. there, 1915), violinist, studied under Joachim, 1860–64. In 1868 he joined the Muller Quartet, with which he travelled as leader until its dissolution in 1869, and became in the same year a teacher at the Hochschule and a member of the Joachim Quartet. He remained in Berlin two years, organising with Hermann Franke (second violin), Leonhard Wolff (viola) and Robert Hausmann (violoncello) another quartet party, which was engaged subsequently by Count Hochberg, and became known as the Gräflich Hochberg Quartet of Schloss Rohnstock, near Striegau, in Silesia. In 1878 he came to England, making Liverpool his headquarters and undertaking the leadership of the Richter orchestra, with which he was connected for nearly thirty years. The Schiever Quartet, in which he was associated with A. Ross (second violin), Carl Courvoisier (viola) and Walter Hatton (violoncello), was an institution favourably known in the north of England.
17SCHIKANEDER, EMMANUEL (b Ratisbon, Jan. 3, 1748¹; d. Vienna, Sept. 21, 1812), theatrical manager, playwright, actor and singer. He began life as a poor wandering musician, joined some strolling players at Augsburg in 1773, married the adopted daughter of the manager, and at length undertook the direction himself. In 1780 his wanderings brought him to Salzburg, where he fell in with the Mozarts, and at once began to make a profit out of Wolfgang's talents. In 1784 we find him in Vienna, giving with Kumpf a series of excellent performances of German opera, comedy, etc., at the Kärnthnerthor theatre. He appeared on the boards both here and at the Burgtheater, where, however, he did not succeed. He next took the management of the theatre at Ratisbon, but was recalled to Vienna by his wife, who had undertaken the little theatre lately built in the grounds of Prince Starhemberg's house in the suburb of Wieden, for which Schikaneder received a privilegium or licence.² He had no scruples as to the means to be adopted to make a hit, but in spite of large receipts was continually in difficulty. On one such occasion (Mar. 1791) he had recourse to Mozart, whom he implored to set to music a libretto adapted by himself from a piece by Giesecke, a member of his company. Mozart, always good-natured, especially to a brother Mason, consented, and from that moment till its completion Schikaneder stuck closely to him, and did all he could to keep him amused over his work. The history of the 'Zauberflöte' is well known; Schikaneder made various suggestions in the composition, took the part of Papageno, and found himself saved from ruin by the success of the opera; but he showed little gratitude to Mozart, and after his death, instead of helping the widow of the man by whom he had benefited so materially, contented himself with loud and vain lamentations. In 1800 he entered into partnership with a merchant named Zitterbarth, who, at a short distance from the small theatre just mentioned, built the 'Theater-an-der-Wien,' opened June 13, 1801 (see Beethoven). Zitterbarth then bought the privilegium from Schikaneder, who managed it for him till 1806. His next project was to build, with the assistance of some wealthy friends, a new theatre in the Joseph-
19¹ Riemann.
20² It was popularly called Schikaneder's theatre.
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