Dear friends of mechanical music, as editor of the journal
"Das Mechanische Musikinstrument" (DMM) and having so often taken
advantage of this forum, I would now like to report to you regularly
on our latest technical articles. The last issue DMM 150 was published
in August 2024, and we are currently preparing issue 151.

In DMM 150, the organ builder Achim Schneider of Waldkirch explains
the term "Treiborgeln" in his article and reports about the few
surviving so-called Black Forest Treiborgeln in Basel (Museum der
Kulturen), Bruchsal (Deutsches Musikautomaten-Museum), Cologne
(Stadtmuseum), Waldkirch (Orgelbauersaal der Waldkircher Orgelstiftung)
and Norris, Tennessee (W. G. Lenoir Museum). In addition to many
technical details, the article is also richly illustrated with rare
photos.

In her current article, the Austrian phonola player and musicologist
Isabella Sommer deals with the recordings of the Viennese composer
Edmund Eysler and his Hupfeld artist rolls ("Wiener Operetten --
Komponisten spielen fuer Hupfeld: Edmund Eysler (1874-1949)". She also
writes about Hupfeld's Viennese recording director, Ludwig Roman Chmel,
and provides newly found documents on Charles Weinberger's recordings.

Tri-Phonola master rolls in the possession of Hans W. Schmitz were one
of my own topics. In DMM 143 to 145, I was already able to identify
some important collaborators in Hupfeld's music department and the
signatures on Hans W. Schmitz's rolls have now made it possible to
identify others. In addition to Walter Niemann and Hans Klinger, the
Leipzig music writer and teacher at the Leipzig Conservatory Ernst
Smigelski also worked there in the 1920s.

Finally, I felt the need to clarify some misunderstandings about
Ludwig and Gustav Riemann in "Gebrueder Riemann im Dienste Hupfelds".
The Essen music writer Ludwig Riemann (1863-1927) was present at
Edvard Grieg's Hupfeld recordings and gave a rudimentary description
of their recording system in 1911, when it had probably long since
been developed further. He was never head of the music department.
However, his brother Gustav Riemann (1865-1923), who lived in Boston
for some time in the 1890s, was head of the Hupfeld music department
from at least 1910 until his retirement in 1921, and in this capacity
he accompanied Elly Ney's recordings in 1911, for example.

Claudia Nauheim
redaktion@musica-mechanica.de.geentroep [delete ".geentroep" to reply]

 [ DMM 150 Title
 [ https://www.mmdigest.com/Attachments/24/10/20/241020_094744_Dmm_150_title.pdf