Zither US

Zither Newsletters

davidkyger — Fri, 29 Jan 2016 02:14:15 +0000

Zither Newsletters davidkyger Fri, 01/29/2016 - 02:14

In 1879, Franz Waldecker published the first newsletter in the United States for the zither community. The Zitherplayer, in its way, brought together zither players throughout the states and Europe by sharing music, news and other articles of interest to promote the art of zither playing. From this time, several periodicals emerged and this page shares many of these early examples. If the reader is aware of others not presented here, email dave@zither.us, or use the provided contact form to help build a more contiguous picture.

Index	Issue	Publication	Notes
NL-0001	Vol I, No. 1, February, 1922	The Zither	Code: C / John C. Scherer, Editor
NL-0002	Vol I, No. 2, July, 1922	The Zither	Code: C / John C. Scherer, Editor
NL-0003	Vol I, No. 3, September, 1922	The Zither	Code: C / John C. Scherer, Editor
NL-0004	Vol I, No. 1, January 1, 1885	The Zitherplayer	Code: O / O. G. Eckstein, Editor
NL-0005	Vol I, No. 2, February 1, 1885	The Zitherplayer	Code: O / O. G. Eckstein, Editor
NL-0006	Vol I, No. 3, March 1, 1885	The Zitherplayer	Code: O / O. G. Eckstein, Editor
NL-0007	Vol I, No. 4, April 1, 1885	The Zitherplayer	Code: O / O. G. Eckstein, Editor
NL-0008	Vol I, No. 5, May 1, 1885	The Zitherplayer	Code: O / O. G. Eckstein, Editor
NL-0009	Vol I, No. 6, June 1, 1885	The Zitherplayer	Code: O / O. G. Eckstein, Editor
NL-0010	Vol I, No. 7, July 1, 1885	The Zitherplayer	Code: O / O. G. Eckstein, Editor
NL-0011	Vol I, No. 8, August 1, 1885	The Zitherplayer	Code: O / O. G. Eckstein, Editor
NL-0012	Vol I, No. 9, September 1, 1885	The Zitherplayer	Code: O / O. G. Eckstein, Editor
NL-0013	Vol I, No. 12, December 1, 1885	The Zitherplayer	Code: O / O. G. Eckstein, Editor
NL-0014	Vol II, No. 1, January 1, 1886	The Zitherplayer	Code: O / O. G. Eckstein, Editor
NL-0015	Vol II, No. 8, August 1, 1886	The Zitherplayer	Code: O / O. G. Eckstein, Editor
NL-0016	Vol I, No. 1, December, 1962	The Zither Newsletter	Code: O / Dr. Joel Morris, Editor
NL-0017	Vol II, No. 1, June, 1963	The Zither Newsletter	Code: O / Dr. Joel Morris, Editor
NL-0018	Vol II, No. II, December, 1963	The Zither Newsletter	Code: O / Dr. Joel Morris, Editor
NL-0019	July, 1964	The Zither Newsletter	Code: O / Dr. Joel Morris, Editor
NL-0020	Spring 1987	Zither Newsletter of U.S.A	Code: O / Janet Stessl, Editor
NL-0021	Summer 1987	Zither Newsletter of U.S.A	Code: O / Janet Stessl, Editor
NL-0022	Fall 1987	Zither Newsletter of U.S.A	Code: O / Janet Stessl, Editor
NL-0023	Winter 1988	Zither Newsletter of U.S.A	Code: O / Janet Stessl, Editor
NL-0024	Winter 1989	Zither Newsletter of U.S.A	Code: O / Janet Stessl, Editor
NL-0025	Spring 1989	Zither Newsletter of U.S.A	Code: O / Janet Stessl, Editor

Do you have a zither-related materials that you would like to share? For more information on how to contribute, email dave@zither.us or use the provided contact form.

A Snapshot of Pauline Kruger Hamilton

davidkyger — Tue, 29 Apr 2014 18:50:57 +0000

A Snapshot of Pauline Kruger Hamilton davidkyger Tue, 04/29/2014 - 18:50

An early photograph reveals an extraordinary life. The photo, circa 1893, was taken in St. Paul, Minnesota and shows Pauline Kruger Hamilton with her Arion zither. A native of Minneapolis, Minnesota, she performed as a zither soloist and was a well known artist. For a number of years, she was designated as the official photographer for the court of Franz Josef, former Emperor of Austria.

In a chapel, two Special Agents from the Bureau of Investigation gazed down upon the body of a woman lying in a coffin. The men from the Bureau had received a tip that papers had been secreted with the body. Near the deceased woman's right hand, a portrait of a man was observed. The agents noted how the collar had been obscured, as if to conceal something. On the photograph, the name “Hamilton” was written on the diagonal. No other papers were found.  

Thus the final days of Pauline Kruger Hamilton were marked with suspicion and intrigue. A scene suitable, it seems, to fill a few frames in The Third Man movie. For weeks she had been shadowed by an investigative firm in New York City. Detectives received reports of odd behavior and the many guests she received. One entry in her now declassified file reads:

“May 18, 1918 , they received information (no name given) that a Mrs. Pauline Krueger [SIC] of 12 W. 47th Street, N. Y. formerly photographer to the Kaiser, was signalling [SIC] from her apartment overlooking the river to ships in the river. Was associating with questionable characters; was an expert at wigwagging.”

For years, Pauline was court photographer for the royal family in Vienna. How much of the rest is truth, or a product of the paranoia of the time, is hard to say. As America entered the first World War, her numerous foreign connections were a magnet for suspicion. She was, after all, well connected to nobility in Austria. Her position with the royal family in Vienna gave her access that others in her profession could only dream of. Since the onset of World War I, she was an ambassador for Austria's war orphans and made pleas for cotton in order to improve the sanitary conditions of soldiers, whether friend or foe.  

In 1870, Pauline Kruger was born in Middleton, Wisconsin, to parents who were counted among the state's many German-Americans. In 1880, the family moved to Minneapolis, shortly after the sudden death of Pauline's three youngest siblings from diphtheria. The relocation was perhaps intended as a healing measure, to place the family some distance from the tragedy.

An artist by profession, she established an art studio at the Syndicate Block Building on Nicollet Avenue by 5th and 6th Street. Numerous private exhibitions of her work were held there, followed shortly thereafter by public viewings. Her studio was a workspace and social circle where guests frequently gathered for small talk and tea served from a Russian samovar.  

It is the cabinet card photo shown here that drew in this author. Here we see an attractive woman, wasp-waisted in the style of the day, posing with an Arion model zither that is positioned upright and leaning against a chair. Outside of her studio, she performed zither solos at various public venues. She also enjoyed excursions to Yellowstone and the Rocky Mountains, capturing nature with pencil and paper.  

In 1904, Pauline was reunited with her love interest, Frank Hamilton, a newspaper writer by profession. Frank was serving time at Minnesota's Stillwater State Prison after a conviction for manslaughter. They were married on November 13, 1905, but it was to be a short marriage. Since being diagnosed with tuberculosis as a youth, Frank's health was a constant concern. The following year, in 1906, he passed away. In two more years, providing distance from yet another tragedy, she pursued her art aspirations in Vienna, Austria. 

At Pauline's funeral, the agents observed the attire and features of the ten attendees, attempting to discern the nationality of each. He appears to be Austrian, and the other, is he Australian? That man is wearing a uniform, but the collar has no insignia. Where do we go from here? Fade to music.

Do you have a story of historical interest pertaining to the zither that you would like to share? If so, email dave@zither.us, or use the provided contact form.

On the Zither

davidkyger — Fri, 06 Dec 2013 21:06:00 +0000

On the Zither davidkyger Fri, 12/06/2013 - 21:06

This article, by Dr. Gerlinde Haid, comes from the Austrian publication Volkskunst heute (Folk Art Today),^[i] a beautifully illustrated magazine devoted to Austrian handcrafts, costumes, and customs. The article is translated by Dr. Jane Curtis, and illustrations reproduced, with the kind permission of the publisher, the Hilde Jasser Verlag- und Werbegesellschaft mbH, Vienna, Austria. Translator comments and additions are set off in brackets; some slight rearrangements of material have been made for greater clarity in the English version.

Old Tirolean folk zithers in
Mittenwald and Salzburg form.

The reawakened interest in Stubenmusiki^[ii] inspired by Tobi Reiser in the 30s has brought an old folk instrument to new honor: the zither. Many folk musicians used to wrinkle up their nose at the word "zither". “Zither” meant salon music and the daughters of the upper class and "folksiness", smacking insipidly of togetherness and dilettantism – all expressed in a mixture of Heurigen schmalz and "Abend am Traunsee"^[iii], made up of poor selections, very little artistry, and much romanticism. In reality there was more to it than that. Tobi Reiser was a genius at picking up what appeared usable to him. He integrated the zither into his Stubenmusik along with harp, Hackbrett^[iv], and bass fiddle. In this function the zither is again popular on the folk music scene, in a "second incarnation", as the folk music researcher Walter Wiora would say, meaning that this music is no longer heard in its original contexts of dancing, everyday usage, and social gatherings, but is now performed at the old homeland reunion, at Christmastime, at Easter, in the spring, at get-togethers of singers and musicians. Its original role in folk music was different, and here and there still is today, with all the regional peculiarities belonging to this type of music.

Dancing the Steirer, with zither music.
Drawing by C.B.Binzer. The zither
player holds the instrument on his knees.

The "East Alpine mountain zither", to use the technical term, is one of our most typical folk instruments, because it was invented in the realm of folk music.^[v]According to sources, it must have been developed during the 17th century. Its immediate ancestor is the "Scheitholt" ["log"], which Michael Praetorius mentioned in 1619 and described as a low-class instrument. The oldest zithers had drone strings like the hurdy-gurdy, were held on the knees, and were played tremolo style. They were called Kratzzither, Scherrzither, Zwecklzither,^[vi] and Raffele, and were also widespread in Scandinavia, Denmark, and North Germany as the "Langleg" [the Norwegian langeleik] and "Hummel" [the Swedish hummele]. The Raffele is still known today in the South Tirol.^[vii] Little is known about the first "Schlagzithern" [struck zithers], whose melody strings were struck with a thumb ring as is done today, while the accompaniment strings are pulled. We do know that until about 1830 zithers were diatonic and that their further development went hand in hand with the expansion of Alpine melody and polyphony. The practice favored in our "original country music", transposing the melodies by a fifth when they are being used to accompany dancing, corresponds to the arrangement of the strings in intervals of a fifth. The playing order of the frets (the scale begins not with the base tone but with the tone a fifth below it) corresponds to the predilection for the leadoff tone derived from this fifth:

These very simple diatonic instruments have long since disappeared from use in folk music. All that remains is a number of preserved exemplars in our museums, each one unique, corresponding to the inventiveness and imagination of their builders.^[viii] Two main types have developed from them: the Salzburg form, which later became the concert zither, and the Mittenwald form, which had no issue. And from those days we also have Peter Rosegger's^[ix]delightful account of the dignity, significance, and individuality of the old folk instrument:^[x]

The harp of the Alpine folk song is the zither, but not that perfected modern zither on which wandering artists once in a while achieve an admirable virtuosity. Such an instrument would be beyond the reach of the ordinary farmer, if only because it would cost the entire year's pay of a hardworking fellow, to say nothing of the time and finger dexterity required to play the zither.

My father had three brothers; each played a self-made two-stringed zither, expressing their innermost life in quite tolerable style. This inner music life consisted of a half dozen Steirer dances, or as they called them "Altweltischer" ["old worldish dances"], which brought the rest of the group to their feet in short order. My father was far superior to them artistically, however: he had three strings on his zither and played not only these dances but also folk songs, Jodler, and all sorts of unusual tunes of which we couldn't make head or tail. And if we asked him what they were, he replied "Nothing". They were combinations of tones he had created himself, however his fingers fell onto the strings, forgotten as soon as they died away.

The ring which zither players wear on the right thumb was unknown to us. We just took a piece of fish bone and scratched busily away. The expression "Zithernschlagen"^[xi] was thus fairly accurate. My father did not like it when they danced to the "Zitherschlagen", although the sharp shrill tones easily overrode the clumping of mountain boots. When we eventually heard a polished zither player, we did not know what kind of strange music it was, until my younger brother looked at the instrument and astonished us with the report that the thing looked like a zither but was much larger, waxed to the nth degree like the bailiff's boots, and strung with at least several dozen strings.

"Several dozen strings!" cried my father, "it can't be; it's no zither, it's something else."

Singers from the Styrian Alps, with violin, zither, and guitar. Copper etching from Vienna 1829

How did the simple "peasant zither" become an art instrument?^[xii]The way was long and complicated, beginning when the "Alpenlanders" and their music were discovered by the educated classes. The Styrian Alpine Singers, seeking their living far from their homeland, traveled to many countries after about 1825, as did the Tirolean National Singers. [The pictures show the Styrians using violin, guitar, and zither, the Tiroleans with zithers and Hackbrett.] Folk singing groups from Vienna soon began to travel as well. Of special importance in making the zither known was Johann Petzmayer (1803-1884), from Zistersdorf in Lower Austria. He became so proficient on the zither that Duke Max in Bayern, father of the empress Elizabeth, took zither lessons from him and in 1838 gave him the rank of Kammervirtuoso. From then on the musically talented among the nobility of Bavaria, Austria, and other areas, played the zither. It spread in turn to the ordinary folk, returning to where it had originated.

The Vienna Biedermeier writer Alexander Baumann, who introduced the zither into Vienna high society,
here playing the zither in an Alpine pasture near Grundlsee. Lithograph by Eduard Swoboda, c.1850.

Hand in hand with popularization came many attempts to improve and perfect the zither, to broaden its capabilities, to create instruction materials, and to standardize the tuning. It became a chromatic concert instrument, highly stylized, with five melody strings and as many as thirty-seven accompaniment/bass strings; and individual virtuosos did great things with it. Equally noteworthy were the attempts to establish a standard instrument. Along with perfectly serious efforts in zither clubs and publications, many strange things appeared. There were instruments with patterns to slide under the strings, supposedly making it easier to play; there were some with buttons for playing accompaniment chords automatically;^[xiii] and other experiments offending against true musicianship.

Tyrolean National Singers' Society

Zither-playing folk musicians participated in this process. The zither is for accompaniment. It accompanies dancing and singing, violin and flute; it accompanies the amateur in the mountain meadow and the milkmaid milking, if the story is true that cows give more milk when they hear the delicate tones of the zither. And I know a young zither player who twice a day stands at the highly modern milking machine in his cow barn, minus zither of course, but has a way of playing that evokes his cows and farming. I know an old zither player who told me what he had learned at his first zither lesson: two left-hand chords, "even" and "odd", and when he then stroked the strings with his right hand, as told by the teacher, out came his first "Steirer". I know a zither player with hands so large and broad that he could completely cover a small zither, but the delicacy with which he handles his instrument is incomparable.

Folk Scene at a Heuriger in Vienna about 1818.
After a pencil drawing by Josef Lanzedelly (1774-1832)

Folk music does not need theory or even necessarily written notation. What it needs is feeling, musical instinct, musical imagination; then every limitation will become a creative push. The zither is an incomplete instrument, that is its strength.^[xiv]

Title page from "Collection of Selected Mountain Songs"
by Ulrich Halbreiter, Munich 1839, dedicated to Duke Max in Bavaria

Footnotes:

^[i]. [1986 No.2, pp14-17]

^[ii]. [Stubenmusik (or -musi) is music played at home or in such friendly cozy places as the Bierstube, the Weinstube, and other places of good cheer.]

^[iii]. [The old Vienna evergreens played in the Heurigen nestled among the vineyards of the Wienerwald, reinforced by the unforgettable Anton Karas film score for The Third Man, helped create the zither's reputation as just a schmalz instrument, as did the many old tyme pieces (like the venerable Ein Abend am Traunsee [An Evening on Lake Traun]). Played too often and overdone, this kind of music becomes as boring as any others; but as part of the full range of music possible on the zither it continues to please players and listeners, and fortunately it is not disappearing as the zither realizes its full potential in other classical and modern types of music.]

^[v]. [Like the American hammer dulcimer]

^[vi]. Author's note: Cf. Karl Magnus Klier, Volkstümliche Musikinstrumente in den Alpen. Kassel and Basel 1956, p.84-93, and Leopold Schmidt, Volksmusik. Salzburg, 1974, pp33-39 and illustrations 28-31.

^[vii]. [The Kratzzither ["scratch zither"] resembles the Appalachian dulcimer, which normally has two or three strings over frets (usually diatonic) and one or two unfretted strings strummed as drone accompaniment. It is played by sliding a small bar of metal or wood over the fretted strings with the left hand to set the melody while the right hand strokes all of the strings at once, forth and back, with a quill or plectrum. Josef Brandlmeier's Handbuch der Zither (Munich: Süddeutscher Verlag, 1963, page 22) has this to say about the Kratz-, Scher(r)-, Zweckl-, and Raffelzithers:

The Scher(r)zithers and the Zwecklzithers still extant a hundred years ago in the Allgäu and Vorarlberg respectively (Alemannic areas bordering on Old Bavaria and the Tirol) were also Kratzzithers, which have evidently survived longer on the edge of the area under Bajuwarian influence. The name Scherrzither derives from the word scheren [to shear], while the Zwecklzither is so-called from the Zweckl (=Holzstäbchen [little wooden bar]) used to play it.

Closely related to the Kratzzither as regards historical development is the ... Raffel, also called Raffele or Raffelzither.... The fingerboard of today's Raffelzither, with its five strings, corresponds exactly to that of the standard zither. It is played with a plectrum of wood or horn, rests on the player's knees, and is secured in its position by a pedal on a leather strap. The left hand sets tones as on the zither, while the right strokes with a plectrum as on the mandolin.]

^[vii]. [The Raffelzither in its presentday more developed form can be purchased in some of the areas where it was once popular.]

^[viii]. Author's note: Cf. Kurt Birsak, Notes to the Folk Instruments in the Salzburg Museum Carolino Augusteum, especially regarding the arrangement of frets on the Alpine zither. In Die Volksmusik im Lande Salzburg, Wien, 1979, pp199-217

^[ix]. [Peter Rosegger (1843-1918) was an Austrian folk poet. He came from a farm family in the Steiermark (Styria), had no formal schooling, and began his working life early as a tailor's apprentice. He soon went to seek his fortune in Graz, the nearest city of consequence, where he attended business college and got his first writing job on a local newspaper, the Tagespost. His first collection of poems, in dialect and entitled Zither und Hackbrett, was published in Graz in 1869. He later wrote several novels dealing with the unfavorable impact of urban life on rural, siding with the latter, and in 1876 founded the monthly folk magazine Heimgarten, continued by his son after 1910. His collected works, published 1913-1916, ran to forty volumes, with a second edition 1922-24.]

^[x] Author's footnote: Peter Rosegger, Neue Waldgeschichten. Wilde Musikanten. Eighth edition, Wien, Pest, Leipzig, 1896, pp306-307.

^[xi]. ["Zither(n)schlagen", meaning literally "to strike the zither", is merely another way of saying "to play the zither", as one might say in English "strike the harp" or "strike up the band". As "schlagen" can also mean hit, beat, beat on, etc., the writer is playing on words to indicate that their technique was not very refined.]

^[xii]. Author's note: Cf.August V. Nikl, Die Zither. Ihre historische Entwicklung bis zur Gegenwart. Wien, 1927

^[xiii]. [Both of these were autoharps, or chord zithers. They still exist today and are in fact quite popular in such areas as the southern Appalachians. Other than being a neckless sounding box with strings, they have virtually nothing in common with the true zither. There is no fingerboard. They are held in the arms in a more or less vertical position. The upper strings are chromatic and are strummed with the right hand, all of them, harplike, to accompany singing or other instruments. The more developed versions have lower strings and bass strings, so placed as to allow tuning in chords, which are set to the desired key and are struck with the left hand, either directly or by means of typewriter-like keys. Other hybrid offshoots are seen occasionally, for example the Waldzither (forest zither) I encountered a few years ago in Wuppertal, Germany.] Styrian Alpine Singers with violin, zither, and guitar. Copper etching from Vienna 1829

^[xiv]. [This is a worthy reminder not to forget the zither's folk origins. Once discovered by a few aristocrats, the zither went quickly from a folk instrument to a hobby of the upper classes. Although it came to be thought of as a schmalz instrument, as Dr.Haid has related, it developed technically, and the highly refined concert zither is now recognized as a "serious" instrument, its tonal range exceeded only by that of the piano, and the only instrument outside the keyboard family on which melody and full accompaniment can both be played on one instrument by one player. Just as the zither was revived among the common folk after its adoption by high society, so its folk side should be maintained now that it is accepted as a classical instrument.]

A Zither Match

davidkyger — Fri, 27 Sep 2013 21:16:04 +0000

A Zither Match davidkyger Fri, 09/27/2013 - 21:16

In the late 1870s, zither players in the US began forming clubs to share music with the public. It was during this period that a Bavarian from Ruhpolding, Max Maier, settled in San Francisco and became established as a leading proponent of the zither. At his studio, Max gave music lessons, sold zithers and provided all the requisites for zither players in his community.

Music has its way of bringing people together. There is the common bond of taste and interest, and sometimes there is romance.

Max Maier and Mary Peace, 1887

In San Francisco, in the late 1800s, a woman was accompanied by her mother to visit a zither teacher at his studio. The zither had its charm for the prospective student, but apparently so did the instructor. After leaving, the young woman turned to her mother and professed, "That's the man I want to marry." The zither teacher later revealed that he too watched the pair leave through his window and, thinking of his new student, dreamed, "That's the girl I want to marry."

And so, on February 8, 1887, Mary Hannah Peace and Max Maier were joined together in marriage at St. Paul's Lutheran Church. By 1893, the family had grown by three, with the births of Lydia, Elsie and Herbert. Mary's mother also lived with the family and with the additional income provided by her dressmaking business, the Maier family lived comfortably.

Max Maier was born to a large Catholic family in Ruhpolding, Bavaria, on August 25, 1849, the 19th of 21 children. Max arrived in San Francisco via a circuitous route. As a teenager he apprenticed at a pastry shop, but abandoned this profession for adventure. At 17, he left his village, zither in tow, living for years in Russia, Italy and France where he earned his living giving music lessons.

In 1877, after his travels in Europe, Max settled in San Francisco and established a zither studio. At his business he sold his zither arrangements and compositions, including all the requisites for zither players in his community. For over four decades he directed a zither club, which assumed different names over the years. Formed in the 1890s as the Columbia Zither Club, it was later known as the San Francisco Zither Club until 1926, when it became the Alpine Zither Club. Through this period, Max's zither clubs gave dozens of concerts at public venues in the city.

Max and Mary in their garden,

Oakland, ca. 1924

No one could have predicted the dramatic events that unfolded on the morning of April 18, 1906. The earthquake proved devastating for the Maier family, as it did for so many of the city's inhabitants. In the multitude of fires that followed, many caused by gas main breaks or exasperated by ineffectual containment efforts, Max's zither enterprise was wiped out, as zithers, manuscripts and other precious documents were lost to the flames. Also lost were letters to Max Maier from Queen Lili'uokalani, the last monarch of Hawaii. Lili'uokalani played many instruments, but it was said that the zither was her favorite. The two started a correspondence after she had ordered zither strings from him, and this exchange lasted for years.

In the days that followed their terrible loss, the Maier family was counted among the city's new refugees. Living in Golden Gate Park, they found relief through support provided by the American Red Cross. Fortunately, the bank where the family kept a significant savings account was not destroyed and they were able to purchase a home in East Oakland. They set about to rebuild their lives at 904 E. 11th St.

Slowly things returned to normal, as family and friends were reunited. Zither students returned and Max gave lessons in the front parlor of their home, while the dining room was used for working out zither arrangements. "Teddy," the family's canary, sang along as Max played.

A treasured part of home life was the family garden. There was a fig tree, and an almond that emitted a wonderful aroma when in bloom. Mary tended her flowers and would draw upon chives, parsley, rosemary and other numerous herbs for her cooking. In the garden were two summer houses, built by Max, equipped with seats and tables for the comfort and enjoyment of family and guests.

Mary is remembered for her cheer and hospitality, as she hosted numerous "Kaffe Klatches" at their home in East Oakland. Max enjoyed humor with friends and the occasional prank, as when he tied a variety of grape clusters to his own vines, leaving his guests deeply impressed with his mastery of the horticultural arts. Or, he would lead into a story from his youth in Bavaria, usually introducing the tale with, "In meiner Heimat…."

San Francisco Zither Club, circa 1912

The following tables provide examples of Max Maier's public performances and sheet music.

Max Maier Zither Programs

Index	Program	Date	Notes
MP-0019	First Concert of the Columbia Zither Club	Sunday Evening, January 14, 1894	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0020	35th Semi-Annual Concert and Social of the San Francisco Zither Club	Sunday, October 20th, 1912	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0021	The Alpine Zither Club, Seventh Concert and Ball	Sunday Evening, April 11, 1926	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0022	First Anniversary Concert of the Columbia Zither Club	Sunday Evening, August 19th, 1894	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0023	Third Concert of the Columbia Zither Club	Sunday Evening, April 28th, 1895	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0024	Fourth Concert and Social of the Columbia Zither Club	Thursday Evening, Nov. 19th, 1895	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0025	Ninth Concert of the Columbia Zither Club	On Sunday Evening, April 30, 1899	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0026	Tenth Concert and Social of the Columbia Zither Club	On Thursday Evening, November 30, 1899 (Thanksgiving Day)	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0027	Eleventh Concert and Social of the Columbia Zither Club	On Sunday Evening, March 25, 1900	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0028	Twelfth Concert and Social of the Columbia Zither Club	On Thursday Evening, November 29, 1900 (Thanksgiving Day)	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0029	Fourteenth Concert and Social of the Columbia Zither Club	Sunday Evening, April 21, 1901	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0030	Sixteenth Concert and Social of The San Francisco Zither Club	Sunday Evening, March 15, 1903	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0031	Seventeenth Concert and Social of the San Francisco Zither Club	Thursday Evening, November 26, 1903	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0032	Eighteenth Concert and Social of the San Francisco Zither Club	Sunday Evening, April 17, 1904	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0033	Nineteenth Concert and Social of the San Francisco Zither Club	Sunday Eve., October 23rd, 1904	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0034	Twenty-First Concert and Social of the San Francisco Zither Club	Sunday Evening, October 22nd, 1905	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0035	Twenty-Second Concert and Social of the San Francisco Zither Club	Sunday Evening, April 15th, 1906	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0036	Twenty-Third Concert and Social of the San Francisco Zither Club	Thursday Eve. (Thanksgiving Day) November 29th, 1906	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0037	Twenty-Fourth Concert and Social of the San Francisco Zither Club	Sunday Evening, April 28th, 1907	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0038	Twenty-Fifth Concert and Social of the San Francisco Zither Club	Sunday Evening, November 10, 1907	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0039	26th Semi-Annual Concert of the San Francisco Zither Club	Sunday, April 12, 1908	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0040	27th Semi-Annual Concert of the San Francisco Zither Club	Sunday, November 8, 1908	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0041	28th Semi-Annual Concert of the San Francisco Zither Club	Sunday Eve., April 25th	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0042	29th Semi-Annual Concert of the San Francisco Zither Club	Sunday, Oct. 31st, 1909	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0043	30th Semi-Annual Concert of the San Francisco Zither Club	Sunday Evening, April 24, 1910	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0044	31st Semi-Annual Concert of the San Francisco Zither Club	Sunday Evening, November 20, 1910	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0045	32nd Semi-Annual Concert and Social of the San Francisco Zither Club	Sunday Evening, April 30, 1911	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0046	33rd Semi-Annual Concert and Social of the San Francisco Zither Club	Thursday, (Thanksgiving night) November 30th, 1911	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0047	34th Semi-Annual Concert and Social of the San Francisco Zither Club	Sunday, April 28, 1912	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0048	Thirty-Sixth Concert and Social of the San Francisco Zither Club	Sunday, December 8, 1912	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0049	37th Semi-Annual Concert and Social of the San Francisco Zither Club	Sunday, April 20th, 1913	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0050	38th Semi-Annual Concert and Social of the San Francisco Zither Club	Sunday, November 23, 1913	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0051	39th Semi-Annual Concert and Social of the San Francisco Zither Club	Sunday Evening, May 10, 1914	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0052	40th Semi-Annual Concert and Social of the San Francisco Zither Club	Sunday Evening, November 29th, 1914	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0053	41st Semi-Annual Concert and Social of the San Francisco Zither Club	Sunday evening, May 9th, 1915	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0054	42nd Semi-Annual Concert and Social of the San Francisco Zither Club	Sunday Evening, October 31, 1915	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0055	43rd Semi-Annual Concert and Social of the San Francisco Zither Club	Sunday Evening, May 14, 1916	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0056	44th Semi-Annual Concert and Social of the San Francisco Zither Club	Saturday Evening, November 25, 1916	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0057	The Alpine Zither Club, Second Concert and Ball	Sunday Evening, April 29th, 1923	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0058	The Alpine Zither Club, Third Concert and Ball	Sunday Evening, November 4, 1923	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0059	The Alpine Zither Club, Fourth Concert and Ball	Sunday Evening, October 12, 1924	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0060	The Alpine Zither Club, Fifth Concert and Ball	Sunday Evening, May 3, 1925	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0061	The Alpine Zither Club, Sixth Concert and Ball	Sunday Evening, Nov. 1, 1925	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0062	The Alpine Zither Club, Seventh Concert and Ball	Sunday Evening, April 11, 1926	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone
MP-0063	The Alpine Zither Club, Eighth Concert and Ball	Sunday evening, November 7, 1926	Code: C / Compliments of Barbara Cheatham and Phyllis Zagone

Max Maier Zither Arrangements

Index	Composer	Arranger	Title	Publisher	Notes
SM-0063	Traditional	Max Maier	Pastime for Zither Players	Max Maier, San Francisco	Code: C
SM-0329	L. von der Mehden	Max Maier	Lindenau, Polka	Max Maier, San Francisco	Code: O / Donated in memory of Charles Schroeter
SM-0330	A. Pierce / Traditional	Max Maier	Happy Youth Galop / Comin' thro' the Rye	Max Maier, San Francisco	Code: O / Donated in memory of Charles Schroeter
SM-0331	Crough / Thompson	Max Maier	Kathleen Mavourneen / Clara Schottische	Max Maier, San Francisco	Code: O / Donated in memory of Charles Schroeter
SM-0332	Faust	Max Maier	Sharpshooter's March (Schützen Marsch)	Max Maier, San Francisco	Code: O / Donated in memory of Charles Schroeter

Thank you to Phyllis Maier Zagone, Barbara Maier Cheatham, granddaughters of Max and Mary Maier, and to Conni Plath Reid, great-granddaughter, without whom this article would not have been possible. Elements of this story were drawn from the Maier-Peace family history written by Elsie Weiss Plath, granddaughter, in 1988.

Do you have a story of historical interest pertaining to the zither that you would like to share? If so, email dave@zither.us, or use the provided contact form.

The Concert Zither in America's Civil War

davidkyger — Sat, 31 Aug 2013 23:50:21 +0000

The Concert Zither in America's Civil War davidkyger Sat, 08/31/2013 - 23:50

John Maurath identified a photograph that should be of great interest to zither players. The photograph clearly shows a Union soldier, more than likely a soldier of German heritage, playing a concert zither. Although the picture speaks for itself, the question remains: What did he play?

Several years into the Civil War, the Union Army began forming regiments of freed slaves, thereby enabling these men to engage directly in the struggle for freedom and equality. One such regiment that served with honor and distinction was the 4th United States Colored Troops (USCT), formed in Baltimore, Maryland in 1863.

Officers and enlisted men of the 4th United States Colored Troops

Units such as the the 4th USCT consisted of freed slaves serving as enlisted men, while whites were commissioned as officers to command the regiments. Many of the officers who served within these units were recent immigrants from Germany, many of whom enlisted to serve the cause of the Union. There were also some Germans (and some blacks, ironically) who fought for the South.

Guitar and Zither Player in the Union Army

The photograph provided above with officers and enlisted men of the 4th USCT is particularly interesting for zither players. The soldier, accompanied by a soldier with a guitar, has a zither on his lap. The zither player's right-hand pinky is resting on the bridge of the instrument, a hand position reflective of the playing style of the period. He also appears to be clearly enjoying himself as can be seen by the wine bottle and goblet conveniently placed just to his left.

Captain John J. Eberhardt

The soldier playing the zither is captain of Company D, as signified by the rank on his shoulder boards and the prominent "D" on his cap. Civil War records preserved by the National Archives and Records Administration identify John J. Eberhardt as the commander of this company and provide insight into his service with this unit.

John J. Eberhardt joined for duty in Baltimore, MD, on September 7, 1863 for a period of 3 years. Six days later, on September 13, he was assigned to command Company D of the 4th USCT. In August, 1864, he was a patient at the officers' hospital on Bedloe's Island, New York, where he received treatment for Typhoid fever. While a patient in New York, he requested a twenty days leave of absence to return to his home in Cincinnati, Ohio, to continue his recovery. He mustered out of the Army in Washington, DC, on May 4, 1886, and received travel pay to return to his home in Cincinnati.

Although it is clearly apparent Captain Eberhardt is playing a zither, we're not aware of specific songs performed on the zither by soldiers in America's Civil War. Clues exist, however, in the form of letters written by Germans to friends and family members in Germany during the course of the war. This excerpt, from ^[1] Germans in the Civil War: The Letters They Wrote Home, was written by Captain August Horstmann, originally from Schweiburg, Germany.

"Long before the battle was supposed to begin and without having any reserves behind him, this officer gave his regiment the command to attack (rumor has it he was drunk and he now faces court-martial). They beat back the enemy pickets, and then they started singing "Hinaus in die Ferne" [ a German hiking song ] etc. and went straight into a bayonet attack..."

Captain Horstmann, in his reference to ^[2] "Hinaus in die Ferne", does not mention the zither specifically. However, this is a documented reference to a song that was known by Germans fighting in America's Civil War. As such, it is highly probable that this song would have been performed on the zither by German Civil War soldiers.

Additional references to the zither being played by Civil War soldiers during periods of leisure exist. The 20th New York Infantry, known as the ^[3]"Turner Rifles," as its soldiers were drawn from the New York Turn Verein, provided zither music on the occasion of an inspection by General Benjamin Butler.

"When General Benjamin Butler inspected the 20th New York Infantry in July 1861, the Turners performed physical exercises for the general and his family before delighting them with fine musical pieces. As Butler recalled, 'The melting tones of the zither rang through the air, and in the course of the evening a concert of German music entertained the guests.'"

Aside from the documented instances of soldiers performing on the zither, additional insight is provided by public performances in the same period. In May, 1863, a Professor Turner provided musical entertainment to the residents of Hartford, Connecticut. Professor Turner's zither performance^[4] included Operatic selections from "Martha," "Lucia," "Ernani" and "Norma," renditions of "National Melody" and "Battle March", with "Schubert's Serenade" identified as the evening's favorite.

^[1]Kamphoefner, Walter D., and Wolfgang Helbich, eds. Germans in the Civil War: The Letters They Wrote Home. Trans. Susan Carter Vogel. Chapel Hill: The University of North Carolina Press, 2006
^[2]Feurzeig, Lisa, ed. Deutsche Lieder für Jung und Alt. Middleton: A-R Editions, Inc. 2002
^[3]Öfele, Martin W., True Sons of the Republic: European Immigrants in the Union Army. Frederick A. Praeger, 2008
^[4]"Zither Concert", Hartford Daily Courant, May 16, 1862

John Maurath, whose research originally brought this photograph to light, is a Missouri Civil War buff, researcher and zither enthusiast. John's great-grandfather, born during the Civil War, was a zither player, and the zither was in the family until recently. John currently works for the Missouri Civil War Museum at Historic Jefferson Barracks in St. Louis, MO and is interested in publishing a Civil War Music CD that features the zither. Should this project bear fruit, it will undoubtedly be of great interest to both Civil War historians and zither players alike.

Do you have information of historical interest pertaining to the zither that you would like to share? If so, email dave@zither.us, or use the provided contact form.

Franz Schwarzer and Friends

davidkyger — Mon, 12 Aug 2013 03:16:23 +0000

Franz Schwarzer and Friends davidkyger Mon, 08/12/2013 - 03:16

This circa 1901 photo comes to us courtesy of the State Historical Society of Missouri. Shown standing on the right is Franz Schwarzer, Missouri's famous zither maker. At his factory in Washington, Missouri, over 10,000 instruments were manufactured, the majority of which were zithers. Also identified in the photo are Mr. Muehl, seated with zither, and Mr. Schmidt, shown holding a book.

Mr. Schmidt, Mr. Muehl and Franz Schwarzer. Courtesy State Historical Society of Missouri.

Do you have a zither photograph of historical interest that you would like to share with the community? If so, email dave@zither.us, or use the provided contact form.

Charles Schroeter Collection

davidkyger — Sun, 30 Jun 2013 23:16:05 +0000

Charles Schroeter Collection davidkyger Sun, 06/30/2013 - 23:16

A very generous donation of early zither sheet music was recently received by Zither US, compliments of Jerry Turnbaugh. A significant portion of this music, donated in memory of his friend, Charles Schroeter, has now been digitized and is posted here for the enjoyment of the zither community. As an introduction to the collection, Jerry has provided the following remembrance...

Charles Schroeter, Charlie as we knew him, was a close friend and co-worker of my sister, Jean Turnbaugh Hodson, a professor at the University of Washington. Through Jean, Charlie became one of our family and shared his zither talent with us on many occasions.

Charles Schroeter, September, 1958

Charlie was born in London in 1900 and educated in Belgium, Switzerland and Germany. He emigrated to Canada in 1926 and subsequently to Seattle, Washington in 1950. As Charlie tells it, his first contact with the zither was when his uncle gave him a zither and taught him the rudiments when he was 11 years old. He received professional instruction from Franz Degen for about two years and then for another three years from Miss Frieda Meier. He became interested in the piano and took two years of piano lessons.

In Canada, he met Paul Heinrich from whom he ultimately purchased a Meinel Perfecta zither. The zither was Mr. Heinrich's pride and joy and Charlie learned to appreciate it while playing duets with Mr. Heinrich in 1939 and 1940. Mr. Heinrich died in 1943 and Charlie was able to buy the zither from the Heinrich family on Christmas, 1953.

Charlie couldn't find anyone in Seattle with whom to play, so he and Jean bought two reel-to-reel recorders and Charlie would record first zither on one recorder and then play second zither while recording both on the second recorder. Crude technology but they had fun with the process and it was a delight for the rest of us.

Charlie passed away in 1966 at age 66. We missed him.

Jerry Turnbaugh

June, 2013

Zither Music, The Charles Schroeter Collection

Index	Composer	Arranger	Title	Publisher	Notes
SM-0325	Christoph Voigt	Christoph Voigt	In die weite Welt, Marsch	Christoph Voigt, Dreseden	Code: O / Donated in memory of Charles Schroeter / Dedication: Herrn Zitherlehrer Max Götze in Radeberg freundlichst gewidmet
SM-0326	Josef Hauser	Josef Hauser	Für d' Loni, Schuhplatt'l-Walzer	Josef Hauser, München	Code: O / Donated in memory of Charles Schroeter / Stamped: From Franz Schwarzer, Washington, Mo./ Voices: Zither I, Zither II, Guitar
SM-0327	Henry Vries	Henry Vries	D' Almaleab'n, Fantasie im Ländlerstyl	Henry Vries, Köln	Code: O / Donated in memory of Charles Schroeter / Dedication: Seinem lieben Freunde Peter Weyand gewidment
SM-0328	C. G. Burda	C. G. Burda	Einzug des Königs Wein, Triumphmarsch	Mannheim, K. Ferd Heckel	Code: O / Donated in memory of Charles Schroeter / Dedication: Der Schuch'schen Zither-Schule in Frankfurt a/M achtungsvoll gewidmet
SM-0329	L. von der Mehden	Max Maier	Lindenau, Polka	Max Maier, San Francisco	Code: O / Donated in memory of Charles Schroeter
SM-0330	A. Pierce / Traditional	Max Maier	Happy Youth Galop / Comin' thro' the Rye	Max Maier, San Francisco	Code: O / Donated in memory of Charles Schroeter
SM-0331	Crough / Thompson	Max Maier	Kathleen Mavourneen / Clara Schottische	Max Maier, San Francisco	Code: O / Donated in memory of Charles Schroeter
SM-0332	Faust	Max Maier	Sharpshooter's March (Schützen Marsch)	Max Maier, San Francisco	Code: O / Donated in memory of Charles Schroeter
SM-0333	Volkslied	Paul Heinrich	Kde Domov Muj	A. W. Rost, Dresden	Code: O / Donated in memory of Charles Schroeter
SM-0334	Carl Sackur	Felix Lohr	Glöcken im Thale, Gavotte	Carl Sackur, Breslau	Code: O / Donated in memory of Charles Schroeter
SM-0335	Josef Hauser	Josef Hauser	Die Zithermeisterin, Concert-Polka	Josef Hauser, Erding	Code: O / Donated in memory of Charles Schroeter / Stamped: From Franz Schwarzer Zither Co., Washington, Mo. / Voices: Zither I, Zither II
SM-0336	Franz v. Suppé / Th. Koschat	Max Albert / R. Hose	Two Airs from "Boccaccio" / Verlassen Bin I / Schnadahüpf'l	Nord-Amerikan Zither Journal, New York	Code: O / Donated in memory of Charles Schroeter
SM-0337	Alois Bauer	Alois Bauer	Herzblümchen, Polka	Eigenthum des Componisten	Code: O / Donated in memory of Charles Schroeter
SM-0338	Jos. Kellner	Jos. Kellner	Ungarischer Nationaltanz	J. Kellner's Selbstverlag, München	Code: O / Donated in memory of Charles Schroeter
SM-0339	L. Gruber	L. Gruber	Vor ihra Hütt'n	J. G. Seeling, Dresden	Code: O / Donated in memory of Charles Schroeter
SM-0340	Volkslied (Gedicht von Rückert	M. Abt	Aus der Jugendzeit	Domkowsky & Co., Hamburg	Code: O / Donated in memory of Charles Schroeter
SM-0341	Bernhard Siefert	Bernhard Siefert	Die Liebesboten	Carl Steiner, Berlin	Code: O / Donated in memory of Charles Schroeter / Dedication: Herrn Hermann Stark in St. Louis freundschaftlichst gewidmet
SM-0342	Ferdinand Kollmaneck	Ferdinand Kollmaneck	Glücksträume	Hans Ziegler, München	Code: O / Donated in memory of Charles Schroeter
SM-0343	Jos. Bill	Jos. Bill	O mei Waberl, Polka	Tölz, Echo vom Gebirge	Code: O / Donated in memory of Charles Schroeter / Stamped: Henry Wormsbacher, Music Publisher, 1988 East 59th Str., Cleveland, O.
SM-0344	Josef Hauser	Josef Hauser	Frühlings-Einzug, Gavotte	Jos. Hauser, München	Code: O / Donated in memory of Charles Schroeter
SM-0345	F. X. Wallner	F. X. Wallner	Im Trauten Heim, Tyrolienne	Zentralblatt Deutscher Zithervereine	Code: O / Donated in memory of Charles Schroeter
SM-0346	Wiilh. Tafelmeyer	Wiilh. Tafelmeyer	Erinnerung an Eidelstedt, Ländlicher Tanz	Zentralblatt Deutscher Zithervereine	Code: O / Donated in memory of Charles Schroeter / Dedication: Meinen Eidelstedter Freunden zum Andenken
SM-0347	Stefan Köhler	Stefan Köhler	Rollerscher Stenographen Galopp	Zentralblatt Deutscher Zithervereine	Code: O / Donated in memory of Charles Schroeter / Dedication: Herrn Albert Schulze in Freundschaft gewidmet
SM-0348	Max Albert	Max Albert	Das Salzburger Glockenspiel	Berlin, M. Bahn	Code: O / Donated in memory of Charles Schroeter / Stamped: From Franz Schwarzer Zither Co., Washington, Mo.
SM-0349	Paul Rudiger	Paul Rudiger	Glocken=Harfen=und Violoncellfantasie à la Burgstaller	A. Kabatek, Leipzig	Code: O / Donated in memory of Charles Schroeter / Dedication: Seinem Freunde Herrn A. Maurer gewidmet
SM-0350	Ed. Hoenes	Ed. Hoenes	's Fensterl'n, Alpen-Idylle	Trier, bei P. Ed. Hoenes	Code: O / Donated in memory of Charles Schroeter / Voices: Zither I, Zither II
SM-0351	Franz Degen	Franz Degen	Graf Zeppelin Gavotte	Franz Degen, Zürich	Code: O / Donated in memory of Charles Schroeter / Dedication: Sr. Excellenz Graf F. v. Zeppelin hochachtungsvollst gewidmet / Voices: Zither I, Streichzither
SM-0352	Johannes Pugh	Johannes Pugh	Ein Traumbild, Ländler über ein Motiv von Lumbye	Altona, bei dem Herausgeber	Code: O / Donated in memory of Charles Schroeter / Stamped: Herman C. Grohe, Washington, Mo.
SM-0353	F. von Blon	Geo. Lechler	Buren Marsch	Theodor Lohr, New York	Code: O / Donated in memory of Charles Schroeter
SM-0354	Josef Gschwandner	Josef Gschwandner	Sounds from the Pacific Ocean, Waltzes	M. Gray, San Francisco	Code: O / Donated in memory of Charles Schroeter
SM-0355	L. Freytag	L. Freytag	Irrlichtlein	P. Ed. Hoenes in Trier	Code: O / Donated in memory of Charles Schroeter / Herrn Georg Fodermayer aus Verehrung und Dankbarkeit gewidmet
SM-0356	Rudolf Förster	Alf. Fabian	Gukurru, Pola-Mazurka	C. Sackur, Breslau	Code: O / Donated in memory of Charles Schroeter
SM-0357	Leopold Gruber	Leopold Gruber	Holde Träumerin, Polka-Mazur.	Mannheim, K. Ferd Heckel	Code: O / Donated in memory of Charles Schroeter
SM-0358	Edwin Schiffel	Edwin Schiffel	Inspiration, Tonbild	Robert Söhnel, Dresden	Code: O / Donated in memory of Charles Schroeter / Dedication: Herrn Zithervirtuos Paul Renk in Leipzig freundschaftlichst gewidmet
SM-0359	Edwin Schiffel	Edwin Schiffel	Illusionen, Fantasiestück	Robert Söhnel, Dresden	Code: O / Donated in memory of Charles Schroeter / Dedication: Herrn Henry Wormsbacher in Jersey-City N.A. freundschaftlichst gewidmet
SM-0360	Max Albert	Max Albert	La Malinconia, Thema zur Fantasie über eine Romanze von Fabio Campana	A. Kabatek, Leipzig	Code: O / Donated in memory of Charles Schroeter
SM-0361	Max Albert	Max Albert	Drei Lieder (Bitte / An die Melancholie / Wohl waren es Tage der Sonne)	A. Kabatek, Leipzig	Code: O / Donated in memory of Charles Schroeter / Stamped: From Franz Schwarzer, Washington, Mo.
SM-0362	Banks Winter	Paul Heinrich	Heimwärts, Amerikanischer Walzer	A. W. Rost, Dresden	Code: O / Donated in memory of Charles Schroeter
SM-0363	Theodor Kehl	Theodor Kehl	a , „Grüsse aus'm Bayerland“, Ländler	Christ. Ludw. Steffen, Stettin	Code: O / Donated in memory of Charles Schroeter / Dedication: Herrn Alexander Deprosse in Liverpool freundschaftlichst dedicirt
SM-0364	Franz Schubert / J. P. Webster	Franz von P. Ott	The Lady of the Lake, Ellen's First Song / Sweet By and By	A. M. J. Mueller, Philadelphia, PA	Code: O / Donated in memory of Charles Schroeter / Dedication: Arranged for the Zither and dedicated to Hubert von Herkomer, Arranged for the Zither and dedicated to Miss Katie Haack, Minneapolis, Minn. / On cover: Compliments of Albert A. Hesse, Washington, Mo. - U.S.A
SM-0365	J. Allfeld	J. Allfeld	Fürstenberg-Marsch	Bremen, A. E. Fischer	Code: O / Donated in memory of Charles Schroeter / Stamped: From Franz Schwarzer, Washington, Mo. / Dedication: Seiner Hochfürstlichen Durchlaucht dem Fürsten Carl Egon zu Fürstenberg in tiefster Ehrfurcht gewidmet / Voices: Zither I, Zither II
SM-0366	Jos. Swoboda	Jos. Swoboda	Am Waldesrand	Robert Wächtler, Hamburg	Code: O / Donated in memory of Charles Schroeter / Voices: Zither, Piano
SM-0367	C. F. Enslein	C. F. Enslein	Alpenveilchen, Polka-Mazur	Eigenthum des Componisten	Code: O / Donated in memory of Charles Schroeter / Dedication: Ihrer Wohlgeboren der Frau Josefine Lenneis geb. Tschurtschenthaler hochachtungsvoll gewidmet
SM-0368	W. O. Mickenschreiber	W. O. Mickenschreiber	„Scherzo“, Polatanz-Form	Georg Hentzschel, Dresden	Code: O / Donated in memory of Charles Schroeter / Dedication: Herrn Wilh. Göbel, Essen, in Freundschaft zugeeignet
SM-0369	Carl J. F. Umlauf	Carl J. F. Umlauf	Gemüths-Klänge, Ländler	Wein, bei dem Herausgeber	Code: O / Donated in memory of Charles Schroeter
SM-0370	Carl J. F. Umlauf	Carl J. F. Umlauf	Zwei Lieder ohne Worte (Allein, Thränen)	Wein, bei dem Herausgeber	Code: O / Donated in memory of Charles Schroeter
SM-0371	Bernhard Seifert	Bernhard Seifert	Im Fichtenhain, Tonstück	Moabiter Zither-Akademie, Berlin	Code: O / Donated in memory of Charles Schroeter
SM-0372	Johannes Pugh	Johannes Pugh	„Bunte Reihe", Potpourri	Altona, Hercules Hinz	Code: O / Donated in memory of Charles Schroeter
SM-0373	Chr. Ludw. Steffen	Chr. Ludw. Steffen	Herzens Frühling, Fantasie brillante	Christ. Ludw. Steffen, Stettin	Code: O / Donated in memory of Charles Schroeter / Dedication: Fräulein Clara Steffen gewidmet
SM-0374	Bernhard Seifert	Bernhard Seifert	Aus'm Isergebirg, Ländler	Georg Hentzschel, Dresden	Code: O / Donated in memory of Charles Schroeter / Dedication: Seinem talentvollen Schüler, Herrn Heinz Schreiber Berlin gewidmet
SM-0375	Ferd. Kollmaneck	Ferd. Kollmaneck	Waldeszauber, Walzer	Hans Ziegler, München	Code: O / Donated in memory of Charles Schroeter
SM-0376	Johannes Pugh	Johannes Pugh	Waldesrauschen, Reverie	A. Kabatek, Leipzig	Code: O / Donated in memory of Charles Schroeter
SM-0377	F. Möller	F. Möller	Lustfahrten, Walzer	Friedrich Ahrens, Hamburg-Altona	Code: O / Donated in memory of Charles Schroeter / Stamped: From Franz Schwarzer, Washington, Mo.
SM-0378	Ferdinand Kollmaneck	Ferdinand Kollmaneck	Sonate in B Dur	Cgr. Voigt, Dresden	Code: O / Donated in memory of Charles Schroeter / Dedication: Seiner Wohlgeboren Herrn Carl Sloup gewidmet
SM-0379	J. Kellner	J. Kellner	Fischer Lust	J. Kellner's Selbst-Verlag, München	Code: O / Donated in memory of Charles Schroeter
SM-0380	Joseph Rixner	Joseph Rixner	„Auf steilen Felsen-Höhen“, Walzer	P. Ed. Hoenes in Trier	Code: O / Donated in memory of Charles Schroeter
SM-0381	Hans Thauer	Hans Thauer	Verlangen und Entsagen, Tönstück	Fr. Klare jr., Klein-Holthausen b/ Brünninghausen	Code: O / Donated in memory of Charles Schroeter / Voices: Zither I, Flöte, Streichzither I oder Violine I
SM-0382	Franz Wagner	Franz Wagner	Zwei Lieder ohne Worte (Alpenrose, Am Grundlsee)	Franz Wagner, Wien	Code: O / Donated in memory of Charles Schroeter
SM-0383	John Philip Sousa	Jos. A. Koch	The Stars and Stripes Forever, March	The John Church Company, US	Code: O / Donated in memory of Charles Schroeter
SM-0384	Carl J. F. Umlauf	Carl J. F. Umlauf	Herzenstelegramm	Wein, bei dem Herausgeber	Code: O / Donated in memory of Charles Schroeter
SM-0385	Carl J. F. Umlauf	Carl J. F. Umlauf	Errinnerung An Ems, Conzertstück	Wein, bei dem Herausgeber	Code: O / Donated in memory of Charles Schroeter
SM-0386	Max Schulz	Max Schulz	Elisen-Gavotte	Regensburg, B. Fritz	Code: O / Donated in memory of Charles Schroeter / Dedication: Wohlgeb. Frl. Elise Siehe freundlichst gewidmet
SM-0387	Carl Fittig	Carl Fittig	G'sangln und Tanzen aus Tirol	Mannheim, K. Ferd Heckel	Code: O / Donated in memory of Charles Schroeter / Dedication: Miss Jessi Henderson freundlichst gewidmet
SM-0388	Johannes Pugh	Johannes Pugh	Sonate	Hamburg, Hercules Hinz	Code: O / Donated in memory of Charles Schroeter / Herrn Max Albert in Berlin
SM-0389	C. Olaf Sodahl	C. Olaf Sodahl	Khorassan Patrol (Oriental March)	C. O. G. Sodahl, East San Diego, California	Code: O / Donated in memory of Charles Schroeter / Stamped: From Franz Schwarzer, Washington, MO. / Voices: Piano or Zither, Violin or Mandolin
SM-0390	Franz Macku	Fr. Gutmann	Herzliche Grüsse, Polka Francaise	Röder, Dessau	Code: O / Donated in memory of Charles Schroeter

Charles Schroeter's collection also includes several music programs and other printed zither ephemera. These have been digitized and are provided in the following table.

Zither Ephemera

Index	Description	Notes
ZE-0001	Music Program / Zither Quartett Zürich / Kongresshaus Zürich / Sonntag, den 23. Februar 1958, nacm. 16 Uhr	Code: O / Donated in memory of Charles Schroeter
ZE-0002	Schweizerischer Landessender Beromünster "Die Konzert - Zither"	Code: O / Donated in memory of Charles Schroeter
ZE-0003	Zitherverein Schaffhausen / Jubiläums-Konzert, Sonntag, den 7. November 1965, um 16 Uhr im "Kronenhof" Schaffhausen	Code: O / Donated in memory of Charles Schroeter
ZE-0004	Zitherquartett Zurich / Kongresshaus Zürich / Sonntag, 15. September 1957, 16 Uhr	Code: O / Donated in memory of Charles Schroeter
ZE-0005	Zitherquartett Zurich / Kongresshaus Zurich / Samstag 30. Mai 1958, 19 h 30	Code: O / Donated in memory of Charles Schroeter
ZE-0006	Einladung zum Konzert des Zithertrio Basel / Samstag, den 15. Februar 1958, 20 Uhr	Code: O / Donated in memory of Charles Schroeter
ZE-0007	Mein Saitenspiel / Nummer 7, XI. Jahrgang, Bochum-Langendrer, Okt./Nov. 1958	Code: O / Donated in memory of Charles Schroeter
ZE-0008	Zither Quartett Zürich / Kongresshaus Zürich / Sonntag, den 3. März 1957, nachmittags 16 Uhr	Code: O / Donated in memory of Charles Schroeter
ZE-0009	Nachrichten des Musikverlages Karl Schneiders / Nr. 2 1956/1957	Code: O / Donated in memory of Charles Schroeter

Do you have vintage zither sheet music that you would like to share with the community? If so, email dave@zither.us, or use the provided contact form.

A Songbird for the Zither

davidkyger — Thu, 20 Jun 2013 01:17:01 +0000

A Songbird for the Zither davidkyger Thu, 06/20/2013 - 01:17

Born in New York, zitherist Alberta Krader was a music teacher by profession and toured extensively with vaudeville, where she introduced zither music to thousands. Whether in the classroom, as a zither soloist or radio perfomer, her efforts to promote and preserve music lasted a lifetime. In later years she formed the Los Angeles Zither Ensemble, which was frequently called upon to perform at folk festivals and other public venues.

Alberta Krader, née Buser, was born in New York on March 20, 1886, the daughter of Ferdinand Buser, a Swiss baker, and Meta Buser, also born in New York but of German ancestry. While a young girl, the family relocated to New Castle, Pennsylvania, where here father, Ferdinand, continued in his profession, opening a bakery, with younger brother Alphonse driving the baker's wagon.

In New Castle, Alberta gained public notoriety whether playing zither solos at the local church, or singing in musical productions. Soon, newspapers were reporting on the hometown girl who was making good in Vaudeville. Traveling the circuit, she performed with the "Swiss Song Birds," in presentations of "A Day in the Alps," and as the "Tyrolienne Songbird." Her days in Vaudeville brought zither music to tens of thousands of people.

Alberta Krader, KDKA promotional photo, circa 1920s

After New Castle, Alberta moved to Bellefonte, PA. When not performing in Vaudeville, she worked as a teacher, promoting an interest in music to the youth in her community. In fact, the importance of music was expressed unanimously by participants of the Sixth Congress of the United Zither Players of America, held in 1922 in Minneapolis and St. Paul. At the gathering, where Alberta was elected second vice-president of the organization, participants unanimously supported a plea by "The Music Trades" editor, John C. Freund. Intended to impress politicians with the idea that “music is essential to development of a cultural America and not merely a luxury for the few,” the zitherists resolved to “work toward having music made a part of the study curriculum of every school in the country.”

In a parade given in her home town of Bellefonte, the Chamber of Commerce float boasted "Queen of the Zither," with Alberta sitting on top, zither in hand, greeting the community. Likewise, in 1939, she was honored to represent the zither enterprise in Washington, Missouri's centennial celebration, where she rode a float in the parade with Albert Hesse. Although interest in the zither had waned over the past several years, the citizens of Washington were no less proud of their enterprise. Albert Hesse was the last worker at the Franz Schwarzer Zither Company and in his remaining years, he was engaged solely in instrument repair and making strings.

The downward turn for the zither continued, despite the bump provided by the movie "The Third Man." Alberta, now living in California, was certainly facing into the wind in her efforts to share zither music. In the early 1950s, the Franz Schwarzer Zither Company closed. Zither clubs had dwindled significantly, with Milwaukee and Chicago remaining as hubs of zither club activity. Even so, at the annual concert of the Milwaukee Zither Club "Alpenklänge" in 1953, Alberta was there, lending star power, participating with the orchestra and performing solo.

Living in Los Angeles, Alberta was ideally situated to provide services to the entertainment industry. She taught music at the Radio Center Academy in Hollywood, and was asked on occasion to provide zither music for a movie, or to teach an actor zither basics in order to be passable in a film as an experienced zither player. Around her the "Los Angeles Zither Ensemble" formed. The group performed at folk festivals and charity events in the city.

Alberta Krader passed away in 1966, at 80 years of age. Her love of music and the zither continued through her students and ensemble members. After her passing, Jane Weidhofer and King Keyes continued to perform in public and provided zither lessons to those interested in getting started. Jane remembered Alberta's fondness for zither music composed by Hans Dondl, and how she would enthusiastically distribute the various voices of a new song to the group. Many benefited from King's "The Teacher's Table" contributions to early editions of Zither Newsletter USA and his comprehensive tutorial for the zither, Mastering The Scales and Arpeggios.

The Los Angeles Zither Ensemble, circa 1960s

Back row: Alma [?], Angela Bow, Jane Weidhofer, Mitzi Scherer

Middle row: Emmy Walker (guitar) , King Keyes, Alberta Krader, Andy Koller, Frances Koller (guitar)

Front row: Mary Leitner, Peter Walker (mandolin), Sue Scheurman

Thank you to Jane Weidhofer and Lavana Brechbiel for sharing their recollections and the photographs used in this article. Do you have a story or photograph that you would like to share with the zither community? If so, email dave@zither.us, or use the provided contact form.

Buffalo Zither Club

davidkyger — Fri, 24 May 2013 02:47:48 +0000

Buffalo Zither Club davidkyger Fri, 05/24/2013 - 02:47

Thank you to Anna Mayerhofer for sharing this 1917 photo of the Buffalo Zither Club. This photo also includes her grandfather Josef Mayerhofer, seated to the far right in the front row. Josef was born in Dingolfing, Germany, in 1875. Anna included the following note regarding her family's history: "As I understand, my grandfather tremendously enjoyed playing the zither and apparently was quite good. In Germany, my grandfather met my grandmother, Anna Allmanshofer at the Wirtshaus in Gottfrieding which was owned by the Allmanshofer family. A mutual friendship developed through both of them playing the zither.

Do you have a zither photograph of historical interest that you would like to share with the community? If so, email dave@zither.us, or use the provided contact form.

Zitherist Henry Nowak

davidkyger — Fri, 01 Feb 2013 02:58:35 +0000

Zitherist Henry Nowak davidkyger Fri, 02/01/2013 - 02:58

This historic zither photo from 1932 comes to us courtesy of Pat Mohre, great-granddaughter of Henry Nowak, shown here with one of his early zithers. After a long run in Vaudeville, Henry Nowak settled in Chicago where he and his ensemble performed regularly in the Bierstube of the Bismarck Hotel. For more information on the life of Henry Nowak, see his story "What is a Symphonichord?"

Do you have a zither photograph of historical interest that you would like to share with the community? If so, email dave@zither.us, or use the provided contact form.