Matthäus Heilmann
Matthäus Heilmann (born May 10, 1744 in Hofheim am Taunus , † March 10, 1817 in Mainz ) was a piano and organ builder from Mainz . He is considered one of the students of Johannes Kohlhaas the Elder .
Life
Matthäus Heilmann was born on May 10, 1744 as the son of Wendel Heilmann and his wife Anna Katharina in Hofheim am Taunus. He spent his apprenticeship with the cathedral chapter organ maker Johannes Kohlhaas the Elder in Mainz, who was not only a respected organ builder, but also mastered the carpenter's craft with virtuosity.
On June 25, 1777 Heilmann married the Mainz citizen daughter Apollonia Müller . On July 12, 1777 he was accepted into the Mainz citizenship and on December 12, 1777 into the Mainz goldsmiths guild , to which the organ builders traditionally belonged. Not only the high number of pianos built by Heilmann indicates that he should have earned well. In 1785 he already owned the house at Welschnonnengasse 6, and during his time as court organ and instrument maker (1789 to 1797) he lived on Tiermarktstrasse, today's Schillerstrasse, and from 1794 also owned another house in Rochusstrasse. As early as March 1789, Heilmann applied to be allowed to accept journeymen into his workshop.
Since his appointment as court organ and instrument maker by decree of April 3, 1788, Heilmann, as a member of the court orchestra, was entrusted with the tuning and maintenance of all instruments at the court of the Elector and Archbishop of Mainz, Friedrich Karl Joseph von Erthal .
plant
Except for the 1772–1774 or 1777–1779 for the Cath. Parish Church of St. Aureus and Justina in Büdesheim built organ , which since 1847 in the Collegiate Church in Pfaffen-Schwabenheim is, to his workshop have four fortepiano sure to assign. Another fortepiano is only attributed to Heilmann.
Fortepiano
Of the fortepianos that can be safely assigned to Heilmann's workshop, one is in the Germanic National Museum in Nuremberg (work number: 231 around 1795), one in the National Music Museum at the University of South Dakota / USA (work number: 252, around 1790 ) and two in the Colt Clavier Collection in Bethersden / Kent (work number: 64, around 1775–80 and work number: 194, 1775 or 1790, the latter acquired in 1970 through an exchange from the Johann Christoph Neupert collection , which is in the Germanic National Museum in Nuremberg located). Since spring 2017, plant no. 194 in the Geelvinck Museum in Zutphen (Netherlands). Another fortepiano, dated around 1780, in the Neumeyer - Junghanns - Tracey collection in Bad Krozingen is only attributed to the Heilmann workshop. The high number of fortepianos built is to be understood in the light of the fact that in the late 18th century they became increasingly popular as home instruments for the bourgeoisie. In 1976 and 1979, replicas of Heilmann's fortepiano were made in the museum workshop of Derek Adlam and Richard Burnett in Goudhurst / Kent, which are used at concerts around the world.
organ
Heilmann was guided by the division of his 22-register organ into main and substation with flanking pedal towers ; their installation as a gallery balustrade organ with side play equipment ; their arrangement design and their pedal range of only one octave, obviously based on the Mainz organ building style, which was shaped by Johann Jakob Dahm , Johann Anton Ignaz Will and the organ builders Kohlhaas and Onimus . The design of the organ prospect, with its pedal towers in the form of harp fields, is based on the style of the Main Franconian Baroque, which is typical for Mainz.
Apart from the tongue registers , according to the current state of research there is no relationship to the organ building style of the Stumm workshop . The Krummhorn 8 ′ register is one of only two reed registers that have survived from the Baroque era of organ building in Mainz.
With his only known organ, Matthäus Heilmann left behind a musical instrument that is typical for organ building in Mainz in the 18th century and that represents an enrichment of the organ landscape in Rhine-Hesse , that of works by the Stumm organ builders from Rhaunen-Sulzbach; Kohlhaas and Onimus from Mainz and Geib from Saarbrücken and Frankenthal as well as the Mainz organ builders Johann Jakob Dahm and Johann Anton Ignaz Will.
The Heilmann organ is one of the few baroque organs in the region that still has over 80 percent original pipe inventory, including all the prospect pipes. The case, the play and register mechanism, the play system and the wind chests also come from the historical inventory. Only a Salicional 4 ′ (later referred to as Gemshorn 4 ′) from 1816 by Johann Heinrich Engers (* 1771; † 1851), Waldlaubersheim , whose workshop was continued by Johann Martin Schlaadt from 1854 , and probably from the Year 1847 by Johann Heinrich Schäfer (* 1810; † 1877 in Heilbronn), an octave 2 ′ and a sub-bass 16 ′, which had to give way to an original trumpet 8 ′, which was reconstructed in 1964. The changes by Schäfer were made in 1847 after he had moved the organ from Bingen-Büdesheim to Pfaffen-Schwabenheim.
The well-known Mainz musicologist Adam Gottron judged the Heilmann organ as follows in 1959: "Since the prospectus also has a selectively elegant shape, a reconstruction of this magnificent organ would be a first-rate cultural act."
Recordings by the organist Wilhelm Krumbach on the Heilmann organ were recorded by Südwestfunk, Landesstudio Mainz, on October 2, 1967 and broadcast on March 25, 1968.
Disposition since 1964
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The pedal is firmly attached to the II. Manual by means of a manual coupling.
The registers in italics belong to the original disposition from 1779.
To the original disposition
The original disposition is not known, but there is a reconstruction concept from Adam Gottron (see disposition comparison). The registers in italics in the table above are from Heilmann. The Salicional 4 ′ (so pipe engraving, later referred to as Gemshorn 4 ′) was made by Engers in 1816; Octave 2 ′ and subbass 16 ′ are probably made by Schäfer in 1847 (see "Organ"). These changes from the 19th century are of such high quality that they would not be reversed if the conservation restoration was necessary. In the course of the repair work in 1964, which is now critically assessed, Karl Borchert (Ingelheim) built the Sesquialtera II (is not a Sesquialtera, repetition at c °) and the Mixtur IV – V in the for the organ building company of Emanuel Magnus Kemper (* 1910, † 1978) Substation as well as the Großgedackt 8 ', the Cimbel IV and the trumpet 8' in the main plant. He also installed a float bellows and reduced the wind pressure by half.
Disposition comparison
| Probable original disposition (1779), after Adam Gottron | Johann Heinrich Schäfer (1847) | Karl Borchert, Ingelheim, for Kemper (1964) |
|---|---|---|
| I substation | I substation | I substation |
| Gedackt 8 ′ | Gedackt 8 ′ | Gedackt 8 ′ |
| Principal 4 ′ | Harmonica 8 ′ | Principal 4 ′ |
| Small box 4 ′ | Dolce 8 ′ | Small box 4 ′ |
| Fifth 2 2 / 3 ' | Fugara 4 ′ (= principal 4 ′, 1779) | Octave 2 ′ |
| Flautino 2 ′ | Small box 4 ′ | Sesquialtera II |
| Mixture III | Flautino 2 ′ | Mixture IV-V |
| Krummhorn 8 ′ | Clarinet 8 ′ (= Krummhorn 8 ′, 1779) | Krummhorn 8 ′ |
| II major work | II major work | II major work |
| Principal 8 ′ | Principal 8 ′ | Principal 8 ′ |
| Viol 8 ′ | Viol 8 ′ | Viol 8 ′ |
| Uppercase 8 ′ | Uppercase 8 ′ | Uppercase 8 ′ |
| Octave 4 ′ | Octave 4 ′ | Octave 4 ′ |
| Gemshorn 4 ′ | Gemshorn 4 ′ (= Salicional 4 ′, Engers, 1816) | Salicional 4 ′ (Engers, 1816) |
| Fifth 2 2 / 3 ' | Fifth 2 2 / 3 ' | Fifth 2 2 / 3 ' |
| Super octave 2 ′ | not occupied | Octave 2 ′ |
| Mixture III | Dolce 4 ′ | Mixture III |
| Scharff III 1 ' | Scharff III | Cimbel IV |
| Trumpet 8 ′ B / D | Principal 16 ′ | Trumpet 8 ′ |
| pedal | pedal | pedal |
| Subbass 16 ′ | Subbass 16 ′ | Subbass 16 ′ |
| Quintad 16 ′ | Quintad 16 ′ | Quintad 16 ′ |
| Principal bass 8 ′ | Principal bass 8 ′ | Principal bass 8 ′ |
| Violoncell 8 ′ | Violoncell 8 ′ | Violoncell 8 ′ |
| Flute bass 4 ′ (was possibly trombone 16 ′) | Flute bass 16 ′ | Flute bass 4 ′ |
Inventory (2000)
The inventory was carried out on June 26th and July 27th, 2000 by Achim Seip, organ expert in the diocese of Mainz.
| Register position on wind chest | I substation C – e³ | Duration | |
|---|---|---|---|
| 2 | Dumped | 8th' | C – F behind prospectus; Ch ° wood; Rest of metal (Oberlinger) |
| 1 | Principal | 4 ′ | presumably completely original, tin / lead, brochure, from cs1 inside, hand signatures, bolus color |
| 3 | Smalled up | 4 ′ | C – fs² wood; possibly by Schäfer (1847); from g² metal, foreign pipes |
| 4th | octave | 2 ′ | Tin / lead; possibly Schäfer (different design, pipes lighter, no bolus color, no hand signatures, pipes damaged) |
| 5 | Sesquialtera II | no sesquialter, repetition at c °, Borchert / Kemper (1964) | |
| 7th | Mixture IV-V | Tin / lead; Borchert / Kemper (1964) | |
| 6th | Krummhorn | 8th' | presumably original; Bolus color, presumably Crutches, throats and tongue blades renewed |
| II main work C – e³ | |||
| 1 | Principal | 8th' | Brochure; presumably original; Bolus color, sticks original, inner pipes original, mouths heavily dented |
| 2 | Viol | 8th' | CE wood, original; Remainder tin / lead, original; very narrow length, e.g. T. vocal rolls, pipe mouths z. Partly dented, side whiskers presumably. not original |
| 3 | Capitalized | 8th' | Mahogany, Borchert / Kemper (1964) |
| 4th | octave | 4 ′ | presumably completely original; Tin / lead, bolus paint, hand signatures, pipe mouths e.g. T. dented |
| 7th | Salicional | 4 ′ | presumably completely Engers (1816); Tin / lead, bolus paint, hand signatures, side whiskers possibly renewed |
| 8th | Fifth | 2 2 / 3 ' | presumably completely original (1779); Tin / lead, bolus paint, hand signatures, high lead content, d ° new core |
| 5 | octave | 2 ′ | presumably not original; C-F sharp vocal roles, possibly old pipes, cold cuts degraded |
| 6th | Mixture III | presumably completely original (1779); Tin / lead, triple throughout, hand signatures, bolus color | |
| 9 | Cimbel IV | Tin / lead; canceled, Borchert / Kemper (1964), new bench | |
| 10 | Trumpet | 8th' | Borchert / Kemper (1964); Cup z. Partly made of copper, possibly using older pipes |
| Pedal C – d ° | |||
| 5 | Sub bass | 16 ′ | Wood; possibly Schäfer (1847), C abconducted, signatures |
| 4th | Quintad bass | 16 ′ | Wood; either Heilmann (1779) or Schäfer (1847) |
| 1 | Principal bass | 8th' | Tin / lead; Brochure; presumably original Heilmann (1779) |
| 2 | violoncello | 8th' | Wood; either Heilmann (1779) or Schäfer (1847) |
| 3 | Flute bass | 4 ′ | Wood; either Heilmann (1779) or Schäfer (1847) |
- Game conditioning , side. right; Manual keys reassigned, registers new ( Aug. Laukhuff ), registers possibly old. Inscription "Copula" 19th century; Pedal attached to Hauptwerk; Rattling keys with play to the side; Pedal keyboard by Borchert / Kemper (1964), rubbers heavily worn.
- Windchest , original Heilmann (1779) with renewed bung covers and grids (Borchert / Kemper, 1964)
- Housing doors on the back replaced by chipboard (Borchert / Kemper, 1964)
- Game mechanics : abstracts (wood) and trigger wires (presumably Borchert / Kemper, 1964); the lying wave frame original Heilmann (1779).
- Register mechanism : Swords original Heilmann (1779), rods and belts presumably. Shepherd (1847)
Technical specifications
Pitch: a ' = 472.0 Hz at 21.1 ° C and 72% relative humidity (measured on August 9, 2001 by employees of Förster & Nicolaus Orgelbau , Lich );
Wind pressure: 70 mmWs (measured on the canal to the substation on August 9, 2001 by employees of Förster & Nicolaus Orgelbau, Lich)
literature
- Franz Bösken : Sources and research on the organ history of the Middle Rhine. Volume 1: Mainz and suburbs - Rheinhessen - Worms and suburbs (= contributions to the Middle Rhine music history 6 ). Schott, Mainz 1967, ISBN 3-7957-1306-4 , p. 259, 427-429 .
- Adam Gottron : Mainz music history from 1500 to 1800 (= contributions to the history of the city of Mainz . Volume 18). Mainz 1959, p. 157 f.
- Achim Seip: Old and new organs in the diocese of Mainz. Mainz 2003, ISBN 3-8053-2838-9 , pp. 94, 95.
swell
- Episcopal Ordinariate (Mainz) / Department IX / 5 (Dept. Organs and Bells) / OA
- Cathedral and Diocesan Archives, Best. 47.6
- Manual of the Diocese of Mainz 1931, p. 184.
- Adam Gottron: The organs of the diocese of Mainz. 1936.
- Achim Seip, report on a memorial organ (Heilmann organ, Pfaffen-Schwabenheim) dated March 2, 2007.
Individual evidence
- ^ Adam Gottron: Mainz music history from 1500 to 1800 (= contributions to the history of the city of Mainz. Volume 18). Mainz 1959, p. 157.
- ^ A b Adam Gottron: Mainz music history from 1500 to 1800 (= contributions to the history of the city of Mainz. Volume 18). Mainz 1959, pp. 157, 158.
- ^ A b Adam Gottron: Mainz music history from 1500 to 1800 (= contributions to the history of the city of Mainz. Volume 18). Mainz 1959, p. 158.
- ↑ Achim Seip: Old and new organs in the diocese of Mainz. Mainz 2003, p. 94.
| personal data | |
|---|---|
| SURNAME | Heilmann, Matthäus |
| BRIEF DESCRIPTION | German piano and organ builder |
| DATE OF BIRTH | May 10, 1744 |
| PLACE OF BIRTH | Hofheim am Taunus |
| DATE OF DEATH | March 10, 1817 |
| Place of death | Mainz |