NL-0025 - Zither US

hrrryt{R"
ItherNeusLgtlur
ffioF u.s.A.
ZITHER OR STUFFED ANIMAL HEAD
by Graham Johnson
(Graham Johnson has gone to consideralcfe
Sorino.
1989
Zither Practice - Oh! My Head!
Okay, here we go. Let's start.
Keep that thumb over the fretboard.
troubfe to find his zithers. He fives in
Keep that arm up.
Los AngeTes and stud,zes with King Keges.
Ah,
ah - keep those fingers down.
He is afso a contributor to "Grove's DicOoops! - Wrong note t*$*f!
tionarg of Music and Musicians" )
Watch
the
angle of your left wrist.
This is a story of my efforts to buy a
your
Relax
right arm.
zither. My first acquaintance with the inThose
knuckles have to bend inward.
strument was when I read the Darr method
ten years ago, a minimal aid without a zi- Strike at the instant you press your strin
Where am I? Oh, here.
ther. Last spring I found a zither in good
Remember the anchor fingers and pivots.
condition at a low pri-ce in an antique
store. I pondered for weeks whether or not Donrt lift that pressure too soon.
No breaks between notes.
to buy it and was about to offer a trade
of a stuffed animal head when someone else Keep that thumb over the fretboard.
Which string am I on? Oh, here.
Two months later I patronized
bought it.
The finger you just played rests on the
a swap meet where a zither was for sale.
string next to it.
When I asked the price the seller said he
Keep
that bass }ittle finger right with
was reducing the price from $175 to $75 for
finger.
the
fourth
me because f was the first person that day
Keep
up.
that
elbow
to know that the instrument was a zither.
Keep
those
fingers
down.
I would have been satisfied with $175, but
Knuckles
inward.
who was I to question his wisdom. As I
Thatrs a half note and a rest.
carefully inspected and explained the inOh, darn, I lost my place again!
strument, he lowered the price another $5.
The
thumb
- the thumb. Fingers down.
I would have felt guilty with a lower price
Gosh,
I ever, ever, ever learn to
witl
so I figured that it was time to pay him.
play
zither?
this
This first acquisition was just the
beginning of my challenges. The first
Dene Voigt
challenge took me ten years. The followChicago, IIIinois
ing challenges were quicker but labor intensive. Next I had to locate a pick. No (Uditors
note: As Dene's teacher we can
music store in Los Angeles had a zither
gou
assure
she is doing great and she is
pick and almost none knew what it was. A
pJag verq niceTq ! )
Tearning
to
co-worker was going on vacation in SwitzerIand, so I asked him to bring some back.
He brought six picks for $5.(con't page 2)
************************************
************************************
CALLING ALL ZITHER PLAYERS
Come
FIGA Convention '89 at the Toronto
to
the
F I GA
F
I
n st
retted
rument
Cuild of
America
Hilton fnternational Hotel - JuIy 12 16. 1 989.
.CaII or write Newsletter office for information
and registration forms.
CONCERTS ! WORKSHOPS !
ENSEMBLES! INSTRUCTION! ORCHESTRA!
-l & *q*;
page
2
Zither - Stuffed Animal
Head
(
continued
)
My next task was to find a zither teacher. I found one througrh the local Musicianrs Union.
He was an easily found needle in a haystack. What a gem; f am lucky. I,Iy teacher advised
me that I bought an alt_ zither and that most literature was not written for that register,
but that the instrument could be used.
Another task, now, was to buy a discant zither. The local pawn shops and antique
dealers that I contacted did not have one, but the swap meet dealer did. He sold me
a zither that graced his living room for eight years. It was one of the most ornate and
beautiful looking instruments that I ever saw. The deal was fair. I took the new zither
to my next lesson. The instrument looked much better than it sounded. It looked beautiful.
Minor problems intermittently pestered me. Repair was practical but regardless, the
tone would never approach that of my teacher's harp Meinel. The tonal comparison was painful.
It was time to buy my third zithgp.;. The great adventure began in earnest. I called
100 pawn shops and used instrument dealers in my area and also called or wrote to 30 of
the most prominent stringed instrument deal-ers and private collectors across the US. I
also called the German Consul in Los Angeles which provided the names and addresses of 27
Iocal German oriented organizations to which I wrote. One organization even had "zither"
in its name but they knew of no player nor instrument. The German Consul in New York provided a fist of US cities with large German populations, but with 52% of US residents
claiming German ancestry, no city seemed to be left off the list.
The list identified
areas where I would concentrate my zither search. The local library had out-of-state telephone directories which listed used instrument dealers and pawn shops to which I wrote.
I advertised in two German language newspapers for two months and read German language
newspapers from four cities even though I do not read German, but can understand "zither"
and a telephone number. Most of their advertisers received letters from me., includingr
radio programs (one wrote me that my request was broadcast but without audience response),
a funeral director in anticipation of a zither being exchanged for a harp (a good lead
came of this) and to churches asking that my request be posted on their bulletin boards
(another response received) and advertised in a Musician Union's publication. The National
Association of Music Merchants offers a list of 10,000 instrument dealers for $100, but
I did not take advantage of that ambitious opportunity.
An unusual experience was dealing with a woman in San Diego with a Spanish last name
who claimed to offer a Schwarzer for sa1e. Fortunately I knew certain questions to ask
from reading the Schwarzer articles in ZNUSA. The seller was unable to correctly advise
the shape of the paper label, the state of manufacture (Seattle, Washingtonl ! ) the number
of strings, the style of instrument and the serial number. She called back to say that
she could not possibly sell her zither because she just realized that its serial number
was the same as her lucky number.
My efforts did reward me with a good instrument at a low price. That was zither
number three. I have since traded zither number 2 toward the cost of a much better instrument - my zither number four. To be in the right place at the right time generally
requires being in many different potentially right places as often as possible and being
prepared with money, time and transportation to seize the opportunity.
The
zither Newsletter of the USA is published
and
edited
by Janet Stessl as a serv.ice and information link for
zither players in the USA, Canada, Japan, Unj.ted Kingdom,
Netherlands, West Germany, and anywhere efse you would like
us to send it. Your comments, artlcles, listing of events,
classified ads are welcome. Advertising rates on request.
Annual subscription rates are $8.00 domesti.c and $14.00
foreign alr mai1. Newsletter is publlshed quarterly, on or
*****************************************
ZITEER CONCERT
Chicago Zither Quartett
and friendS
Sunday May 21 3:00 PiuI
Edgebrook Clubhouse
6100 N. Central Ave.r Chicago IL.
$5.00 advance $6.00 at door
312-631-2854 ot 774-4594
Tickets:
about February 1, May l, August 1, and November 1. Copy
requested six weeks prior. Back issues available for $2.00
each. Mailing address:
60646
.
Telephone
:
6111
i1z-6J1
N. McClellan Ave., Chicago, IL
-2854
****************************************
*
The Teacher's Table talks about
ZITHER TABLES
The question of zither tables arises very early in a student's zither lessons. Often
on the second lesson, because they have gone home to practrce their new instrument and are
suddenly faced with the question, "What shall I put it on?". We've noticed that the true
ingenuiety of zither players comes out at this time. Aunt Mildred's o1d dressing table is
brought down from the attic, old card tables are retrieved from the junk yard, dilapidated
coffee tables are sized up - could the legs be extended or should I sit on the floor?
Old pictures, lithos, sheet muslc, etc. often show zither players with the zif-her on
their: lap. Here in America, Appalachian dulclmer players sit with instrument on their 1ap,
in what appears to be a comfortable position. It is possible to play on your 1ap, even with
our larger harp zithers. You must be careful not to push it off onto the floor, and you
might wish you had a leather apron to protect your thights from the stability needle points
on the feet, and I wouldn't say there is a whole l-ot of resonance i-n your knees, but it can
be held that way, lf you absolutely can't find a table. Last year, someone told me that
styrofoam has resonance qualities.
I raced home to put a 3" thick piece of rectangular
styrofoam on my lap, to place the zither upon, but couldn't discern any particular resonance
enhancement. We sti1l harbor some hope of developing the Ultimate Lap Zither Table"
We also admire European zither players who carry small protective pads of various
materials i.e. leather, cork, rubber, measuring about 1" or 2" square which are placed between
table and zrther feet to protect vafuable table surfaces. Even formica, which can prove
slippery, can be pressed into heartily enough to hold the zither steady and still not damage
the formica flnish and the little pads are not necessary in this case. Here at home in our
zither studio, we have a pine kitchen table, purchased from Pier One for $150. We have
shortened the legs by about 21", and we simply don't care if marks are left on the table
by zither feet. It glves it a "certain character". The table is large enough for two,
even three, with careful planning, zither players. Those of you who have our videos, "Introduction to Zither # l and # 2" see the table used in the fj-lms. However, being 32" by 48"
it is not in the portable category. In fact, we have problems getting it from the basement
to the parlor for our house concerts.
,''''&
The members of the Chicago Zither Club play on three legged
$!
tables with a definite slant, downward away from the player. The
fi
They seem
legs are removable, fitting inside for easy portability.
to have evolved from a table style built by Tony Godetz, Chicago, in
the'20's and'30's. Godetz's slant was nearfy a 45o ang1e, but the
club has modifled the slant, yet it is enough that a pencil rolls off
the table. Godetz must have had some resonance theories (he was also
an instrument builder) that. have been lost in the intervening years
as we notice that current models do not have the sound enhancement
qualities that hi-s early tabfes had. ( 1 )
Three legged tables are popular - with good reason, they're
always even. (2) Illustrated is one being built in Munich, West
Germany by Heinz Vogt, zither builder.
(1 ) Chicago lither Club
Glen Wendler, Amana, fowa, is also partial to the
three legged variety, and his is curved on the
far side of the table and has a curved, attached
music stand. (3) Glen used three woods, redwood,
pine and oak. The sides are 3/4" redwood and legs
of oak. The bottom and top are 3/8" pine, glued
directly to the sides. The table has good sound
qualitles, but he says he might increase the size
of the "flddle" holes on the next model. Overall
height is 27", front wldth 30", sides 16r" Lo 22"
center wldth and 3" deep.
(,2)
He
lnz Voqt
Tab 1e
Zither Club member of 65 years,
of his own electric zither and
pickups, built combination table-carrying cases. They
have level surface, and used metal legs whlch are
unscrewed and packed in the case with great compactness
and ease. Ernst Obermaier, Seattle Washington, is
using a similar case/table with metal 1egs. ( 4 & 5 )
Ernst says you may need a machine shop to build it.
Itrs compactness rates highly, and he uses an electric
pick-up, so resonance is not a high priority.
The Milwaukee Zither
Rudy Wacek, Chicago
and famous inventor
k
,,,,
ub members
have also used a
combination carryCl
ffiffi
f 3)
[,
lrrr v{trn{iler,
ffiffi
e'-ffiiffi#ffi
Amana,
I owa
ing case/table for
many years. Our
reco-L lect ion i
that they had
wooden legs and
the entire case
was consLructed
of wood, creating
a rather
,ilr,',:,,t.,
!::
\
:
:r:tl;ii:
iqrl,,,,
.:i.
tw
l:::::i::1
heavy
package, but convenient, and its
(4) Ernst 0bermaier
one piece to
carry. We have recently seen a table from Connecticut
which was of the same combination,.but large enough to
accept a harp zither, in its own instrument case, inside,
with four wooden legs, one of which had an adjustment
cast.er for adapting to uneven floo,r situations. We
don't know what kind of wood was used, but we found
it a managable weight, even at a size of 22" x 32".
And very good sound qualities.
Operating on the theory that curved tabfes are
better for sound resonance ( just as sides of instruments
are curved) and that depth is important, we recently
had some tables built on those principles. We are
satisfied that they do increase the sound of the zither,
but sj-nce we didn't want to break the wooden curve,
we have no arrangement to put the legs inside for
(5) Carrl,inq case - Table combination
carrying, although they are removable, having been
attached with Gerber fastners. As you read on you w111
see that other zither players have discovered Gerber fastners also. We are having a negative
experience with Gerbers - that sometimes the 1eg screw backs out and stays in the fastner,
instead of in the leg, as you expect. The alternative is to have the screw receptable built
into the table block, or as Glen wendler suggested, the legs have wooden dowel ends whi-ch fit
into the b]ocks .
Leonard Zapf, of Zapf's Music Store, Philadelphia, PA, contributed a complete diagram
for building a portable zither tab1e. This looks excellent for size (16" x 2B\") and carrying
convenience, and Leonard says it increases the sound, a1so. He is recommending Gerber fastners,
and they are convenient, inexpensive method of fastening legs to table. Certainly for ease of
carrying to the job, or to FTGA convention, as Leonard did last summer in Baltimore, it is fine.
(sec ncxt
paqe.)
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iill l:l
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6
Shimazo Uchikoshi of Tokyo, Japan,
went one step further and built a
.4q,
.
Y#
portable stool of similar style to
carry with his table. (6) His table
measures 60 x 35 cm. Leg height rs
54.5 cm, stool height 44 cm and it
all welghts 7.5 kgs. Cost of materials
was 12,000 yen (about $100). He also
used Gerber fastners. We suspect a
consultation took place at the FIGA
convention.
Another four legged table
variety appeared in an advertisement
(6) Shimazo Llchikoshi, Iokyo'
Japan
Another German built zither table is the Riedl
Resonance Table (8) also seen in the Saitenspiel.
These tables are remarkably good for resonance, but
ouite larqe ( rs this the source of the resonance? )
a-nd clumsf to transport. The Riedl table does not
have legs, per se, but-at either end there are solid
panels which fold in like wings when being carried.
Bob Stykemain, Toledo, Ohio, uses a similar table (9)
and shows diagram (10)- His table is 20" x 30",3"
enclosed space for sounmd chamber and 10" side boards
which act to enclose the folding 1eg system. He says
it is very sturdy and has never "wiggled". Tts major
drawback is, however, its weight.
Jane Curtis added a solid panel to the front
of her zither table (diagram 11) to compensate for
the skirt problem which women zither players have.
Especrally when fashions dictate mrni skirts, we girls
have a problem with some of the table conflgurations.
Harold Leighnor, La Paz, Mexico, made a table
from a piano sounding board. (lZ) fhe sound quality
is excellent, and it is very stable. Weight is only
7 pounds. It is 26" high, and top is 24" 35". He
regrets, however, that it isn't folding or removable
legs
in the Saitensprel recently. (7)
This table uses a wing-nut bolt
through the square leg, which holds
it in the right angle corner cut-out
to the size of 1e:g. Wr: believe this
woulr:l increase the stability cf the
table, and ellminate the wobble tendencies of other 1eg attachments.
ZITHERJTISCH
FUR PROFIS UND AMATEURE UNENTBEHRLICH
Dre Tischplatle aus massrvem. astreinem Krefernholz verbessert
Klangfulle und Besonanz ln Sekundenschnelle zerlegbar iur den
Transport Einfachste Handhabung
PreiS ernschl Nolenslander
ab Werk
Dm
295r
(ernschl N4wSl und Verpackung)
.
Table height, or lack of it, also causes some
problems for women players. Tables have to be at
least 22" Lo the bottom of the 1-able, or else we have
to sit in a twisted back posture (oh! my sacroiliac! )
or wear blue jeans to perform so that we can straddle
the right leg of the tabfe like our male counterparts.
T]SCHFABRIK GEBR. HAFNER
(7
) Advertiscmcnt from
Sai 1-en::pie
I
Eine ideale Ergdnzung zu lhrem Instrument:
D
er
RI ED L-Reson
!=-, '-^
o
anztisch
r!! t! !! !!!! !!!!!! ! !!l
Teacher's Tip: Don't
get so tied to one
table (thumb pick, chair
tlght, etc. ) that you
playing
have difficulty
in other circumstances.
Chanqe your environment
once in a while, so you
will have a flexrble
attitude.
!!!!!!!!!!!!!!!!M t!
Sehr gute Klangeigenschaften
GroBe Tragweite
Sicherer Stand und leichte Zerlegbarkeit durch Perfekte Bauweise
GroBe I20x60 cm, 65 cm hoch
Gewicht ca
13 xo
-
E. F. Riedl
BO44 LOHHOF
LohwaldstraBe 12
Ubo,-
",.augen
Tel 089i3107330
o
' e/e
Neuheiten und Forschung
fur und um die Zither.
t,.,- l,l,
Trp: p'".<
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(11)
If you have 22" or 23" to bottom of table,
and then you add 2" or 3" for sound chamber,
and some wood thicknessr 1zou have 26" or 27"
table height which is about recommended
height. A dining table is 29" high, but if
you can stick a 3" to 5" cushion under your
derriere you are in a good relative position
to the instrument. Many times the cushion
solution is the only one availablei if you've
taken your zither on vacation, but not your
tabler or you're visiting Auntie Mabel and
she " just wants you to play a tune or two" ,
or you've just started lessons and haven't
coped with the table question yet.
Music stands can be attached to the
table in some method for easy removal and
transportation and storage. Some folks use
a one-hole dowel rod (meta1 or wooden) others
have devised two or more attachment locations.
Many players are partial toa free standing
music stand because an attached stand will
(e)
(12)
C
*PRY ittd-
oJ
ft f
ilt'LF tPsfALvr'D
ft" 0
"Ab
5auilD
tuBSr R F t[ r o/
Sioa a ly'o 5r' TE
niRYt,rt$ llAi0L L
BaA
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5
Pit
H
rt o
i*,€*g
S
n
llttL Dar'rS 7o HoLe
Lt+S rtt Er?tCT&o
flasirsail
(10)
-*- / .+13 il ET fi aa R
{ar ln+l:i
Ta l<t$ P
Lte 5 FaL !) **
d-
Diagram from Bob Stykemian
SCIIWARZIiR FOI,DING TAI}I,D
ZIl'IIIiR
t'atentcd AuAust 28, 1893, this
style zither was a Professionat
model, buitt prinrarily for the
travelin( zither plaYer who was
always handicapped bY the lack of
a suitable resonant table or a chair
high enough to perform ProPerlY.
But its advantages also appealed
to the serni-professional player.
Tlre cross bars were removable antl
fit beside the hinged legs, folding
flush under the lower edge of the
zither. The music rack was hin$ed
"shake" as you pl'ay vigorously.
John Roeder has devised a brtass "L"
shaped stand which fits onto one
of the tuning pegs on the l-eft side
of your zither and extends across
zither to hold the music. If your
table is large enough you can use
a folding table top stand, made of
or metal-.
Historically speaking, nearly
100 years ago Franz Schwarzer, Washington, MO built his folding table (11)
to the top and lai<i on the strings
zither. 151 were made and they are
when not in ttse. 'I'hc halttl rest
museum,/collectors
items now. They
was hinf,,etl, givirr( casy acc('ss t{)
quality is
wobbler
the
and
sound
th(! strincs for rc'strin4ing.
not good. But doesn't it seem like
more development could have been
(13)
done along these lines? The English
(1888)
A.
Inc.
Darr
Method
for Zither (1866) has this to
Fischer,
of
the
translation by Carlimportance
tabl-e
which
special
is
the
upon
one plays. Those so often
say about tables: "Of
praised resounding-tab1es, namely the transportable, the feet of which can be unscrewed, have
nearly all the fauft not to stand firm in consequence of which the surety of the play is injured. A firm standing table not too sma11 with a fir-plate and empty drawer is always to
prefer." Presumably the empty drawer is a sound chamber, unless, of course, you fill it with
music, tuning keys, strings. penci'lsf erasers, etc. etc.
In conclusion, we think the perfect zither table has not been built yet. You may,
as many of us do, settle into twp tables, one for acoustical properties, and one handy carrying
table for trips, jobs, etc. Many thanks to all of you who contributed to this article. K""p
us informed if you develop some more ideas.
wood
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13
NEWS & NOTES
HEARD HERE AND THERE
Helen Smith, Wheaton, IL. came up with a
photo of the Edelweis Zither CIub of 1904
in Chicago. Her father and aunt are both
in the picture. Rose and Hans Gassner of
the Milwaukee ZtLher Club want to remind
you of their concert on Sunday, October 15,
1989. Hold the date - details in Summer ,89
issue of newsletter. Jeanette Chattin of
Mulberry, Florida, went to see Sepp Diepolder
play at the Matterhorn Restaurant in Tampa,
Florida while he was performing there in
winter season. Heinrich Rostek of Columbus,
Ohio writesr "Danke ftir die Zither Zeitung,
hab die ganzen Berichte di.irch gelesen. Ihr
habt ja eine schone wundervolle Zost verlebt.
Es Erinert mich an meine jugentzeit wenn
wir die zither concerte hatten. Man kann
das nie verqessen. Die zither ist fr.ir mich
ein strick alte heimat. " Carl Mittelharrmer
got "that cal-]" to perform the zither sofos
in Tales of Vienna Wood by Johan Strauss,
son, while playing at a restaurant on
New Year I s Eve - and the performance was
the next day ! The harpist who usually did
the solos was sick. We're certain Carl
did an excellent job for the orchestra
a regional orchestra in New Jersey area.
Janet Stessl, studying in string ensemble
class at Northeastern Ilfinois University
this winter arranged a bass zither part for
Corelli ( 1653-1713) trio sonata Op. 4,
Sonata II.
Originally published in 1689
for two violins and basso contj-nuo, modern
printed editions include a piano and a
cello part which approximate the figured
bass as utilized in this period. The
teacher, Dr- Sy1via Kovals was excited as
the zither part more nearly approximates
its original form. King keyes visited
Harold Leighnor in La paz, Mexico recently.
They gave a complimentary concert for the
owners of "La Casita" lounge and later a
concert at the same place for government
officials.
They are in demand for a return
engagement and the owners wife wants to take
zither lessons! ! Now that's what we call
spreading out to new markets ! I I ! John Roeder
Columbus, Ohio, will play on Sunday, ApriL 23
for the Anniversary Banquet of the Columbus
Germaniua Gesangverein. Flonika Fischer,
Munich, West Germany, wiII be visiting USA
this summer. Stopping in Chicago first,
she will share an engagemen't at the Black
Forest Chalet Restaurant, Morton Grove, IL
with Janet Stessl ( Zither Hands Across the
Ocean ) , teach a group at FIGA convention
and do a workshop at hammered dufcimer
festiva] before she goes on to California.
******
**** ****
**
** * * * * * * * * * *
DULCI14ER FESTIVAL
incLudes
ZITHER
WARKSHOP
A Dufcimer Festivaf sponsored
btl HANDS of If linois,
Inc.
will include a short program
and zither workshop when it
-zs hefd this summer, Jul,l B-9
at the Gebhard Woods ^State
Park in Morris, Iffinois.
Tap
nationaf and focaL musi cians
of both hammered and mountain
dul-cimer wilf be present for
two daqs of workshops, folk
danc ing , j am sess ions and more .
Monika Fischer and Janet Stess_Z
wi 1l- present the z ither workshop. For more information
caff 875-942-0609 or 372-4505292. Lodging at nearbq motel
or canping faciLities.
Zither
workshop wil-1 ,be on Sundag,
JuJtl 9.
** * ** * * * ******** * * ** * * * * * * * *
Zither Repairs
John McHugh is available to
do repairs on zithers, acous-
tical or electric, in t.he
Chicagoland area . 256-9436.
***** **** * * * * * *** * * r(* * *** * * *
zail's muslc st0rcs, lnc.
5429 N. 5th St., Philadelphia, PA 19120
- Sinc" 1928 Telephone (215) IYA 4-8736
Concert and Harlenzlthers by tamous Makers
lrom 32 strlngs to 42 strings
NEW.& RECONDITIONEO
HoBsT wONscHE, RUoY KNA8L, FRAMUS, SANDNER
Quality BERGFEE Zither Strings, silk and steet
and nylon with steel core.
Plct3c rcnd lor prlcr llrl3 ol Zllh!7t. Etrlntr, il?thodt, 3o1or,
Ducts tlrd
,.-=-....-=-------
llb0tttr.
_ ,it
qo
14
Pasi-ng-Munich Zither Orchestra participated j-n an unusual TV program
on February 25, 1989. In the TV show "Vier gegen Willi" the orchestra played two pieces:
"Song for Eileen" by Freddy Golden and a speci-a} arrangement of "Third Man Theme" also by
Freddy Go1den. The special arrangement consisted of the 23 zither players of the orchestra
being divided as follows: 3 zither players were playing the "Third Man Theme" and the other
20 were playing 1 8 different melodies - and the contestants on the show had to find the
players who played the Third Man Theme. As they found players who were playing other themes,
they asked that player to stop playing, until they had narrowed it down to the correct three
playing the Third Man Theme. The other melodies being played included theme from Dr. Zhivago,
Berliner Luft, Tom Dooly, In Miinchen steht ein Hofbrduhaus, fn the Mood, etc. The zither
players were dressed as secret agents: trenchcoats, Humphrey Bogart style hats, dark glasses!
Sounds like fun. That must have been some arrangement Freddy put together!
1989, a quarterly printed by
Two articles reprinted here and next paqe are taken from Four Seasons, Winter,
permission.
by
Englmeier Druck GMBH, Bad Aibling for BAS Special services,
NE$IS FROU GERMNIY't***The
make music. The name probably derives
from the Creek word Kithara.
For centuries plucked zithers were
common in China, where they still exist.
The Zither
Most musicologists now believe the
A Bavarian romance
In
By BOB IIOYER
THAT HAUNTING
zither theme
from The Third Man, one of the world's
classic crime films, is the kind of music
that gets under the skin.
Once heard, it is never forgotten.
Critics call it the perfect tune played on
the perfect instrument to accompany the
clandestine capers of Orson Welles and
Joseph Cotten in the spooky underworld
of post World War II Vienna.
Played with a special verye and style by
Anton Karas, the music, the instrument
and the player became world famous.
For millions The Third Man theme song
served as an introduction to the zither, an
instrument that plucks at the heart and soul
of Bavarian and Austrian folk music.
Throughout Austria and south Germany
the zither is a traditional favorite. Zither
concerts draw large audiences. Clubs and
restaurants feature the zither.
Through concerts and records Karas,
Munich's Rudi Knabl and a handful of
virtuosos have become international stars.
A new generation of artists, best
examplified by the Popp and Laegel trio,
now continues to uphold the traditions of
zither music.
The brothers Johannes and Robert
Popp of Munich and Lothar Laegel from
Augsburg have been serious zither
students for years. Theirconcefis, a
blend of classical and folk music, attract
an avid following.
"With musicians of this caliber the
future of the zither is in good hands," says
Bad Aibling's Ludwig Englmeier.
"If Rudi Knabl represents the old guard
you can say the Popps and Lothar Laegl
represent the new guard."
Englmeier himself stands between the
old and new.
Among a dozen prominent zither artists
in Bad Aibling, he plays regularly at area
concerts-
1987 he performed
with the Belgrade
Symphony under conductor Sandor
Weinger and he's scheduled for a similar
performance in Belgrade again this year.
Although he reads music. Englmeier
commits all concert works to memory' a
habit that is not uncommon with zither
players.
"Thafs something I got into while
playing in Sweden where the zither is
considered an exotic instrument,"
Englmeier says.
While working in Sweden in the.l950s
as a printer, Englmeier rediscovered the
music he took to only half-heartedly as a
boy.
"I began zither lessons at 12, but wasn't
crude forerunners of the contemporary
instrument came to medieval Europe from
the Middle East.
Early settlers took the zither with them
to America where the Pennsylvania Dutch
zitter is derived from a German model.
The Poppllaegel trio found a lively
interest in the zither last summer during a
U.S. tour that included stops in Chicago,
Washington, Philadelphia and EphEha, Pa.
"Everywhere we were pleased by the
response to our music," Robert Popp said.
Karas, the man who brought the zither
to millions, died in 1985. But The Third
Man theme remains aliVe, and that's good
news to zither players everywhere.
serious about music," Englmeier says.
"On the days I was supposed to be taking
my lessons I was playing soccer instead.
"When I failed to make progress my
mother asked the teacher what was wrong.
When she leamed what I was doing, my
lessons came to an end."
A decade later in Sweden Englmeier
resumed play on a small instrumeot sent to
him by his mother.
"With time on my hands I became
serious about leaming the zither," he says.
"The chance to play at local concerts
made me work that much harder. Repeated
practice improved my technique and my
repertoire."
Like all good artists, Englmeier stresses
the importance oftechnique. And good
technique can take years to develop.
Shallow, flat, box-shaped and made of
wood, the zither is played on a table or the
musician's lap.
A sound hole similar to that of a guitar
and 30 to 45 wire stings give the zither its
distinctive tone.
The player's left hand fingers five
qrings to produce the melody. A metal
plectrum worn on the right hand picks out
accompanying chords.
The origins of the zither seem to run
back to mankind's earliest attempts to
Ludwig Englmeier practices daily in the family
a spring concert.
living room for
'3i
CLASSIFIED
15
ADS
HIS ZITHER: popular music ,For You from
Heart". LP record $8.00 cassette $9.00 postage & handling included. CONDOR RECORDS, P. 0. Box 233O), San Diego,
R0LAND KL0TZ AND
BUilding
the perfect zither in Bad Toelz
My
Californra
THOSE RICH melodies plucked out
on contemporary zithers flow from
92123
centuries of study and development.
different titles on LP's or cassettes. Each $10.00
including postage & handlinq. Sebastian Fichtl. Make checks
out to "Sebastianr'. Mail to Sebastianrs Zither, Box 281,
Four
New
Westminster, B.C. Canada UiL 4Y6.
ENDL: 45 cassettes available, various titles. Natural
of the Meinel zither. Send SASE for complete list.
Anton Endl, J5"19 Centerview Road, Gibsonia, PA 15044
ANTON
sound
Sterling Zither music publications: two-part zither
vetsion of beautiful koto piece from Japan. Send SASE for
complete listing of selections. Jane Curt.is, B0l S. Colonial Ave.,
New from
Sterling,
UA
22170. Tele: 7OJ-437-3292.
0F ZITHERMUSIKTAGE r88: Historica] Concert,
Youth Concert, Chamber Music Concert, cetra nova Concert,
Fest Concert. Each $10 or $lr5 for all five. Postage &
Handling $1.50 per tape. Janet Stesslr 6173 N. McClel1an Ave.,
C0NCERI TAPES
Chicaqo, IL. 60546.
Resonance and strength, so necessary to
the zither, now are universally accepted
principles by all master builders.
For the skilled craftsman, building the
perfect zither is a challenge that demands
precision and patience.
In Bavaria and Austria a handful of
master craftsmen continue to tum out
instruments of great beauty.
Working in this classical tradition,
Gabriel Gruber, Bad Toelz, builds zithers
that are pleasing to the ear and to the eye.
Limiting production to 18 instruments a
year, Gruber puts up to 100 hours of
exacting work into each zither.
Although light in weight, Gruber says
zithers must be strongly built to withstand
the high tension of up to 45 tightly drawn
metal strings.
Five kinds of wood--beech, pear, pine,
maple and palisander--are used in the
production of most zithers.
Thinly cut mellow pine is crucial to the
zifter's resonant tone. Cruber says only
Zit.her Accessories: Note Cards package of six $8.00,
Music Tote Bags, $8.00, Love zither buttons $2.00.
Janet St.essl, 5113 N. McClellan Ave., Chicago, IL 6O6t+6
postage & handling included.
Video Tapes: Learn to play zither with video t.apes.
to Restring your zither, Sunday afternoon Concert and
Conversation with Lili Grlinwald-Brandlmeier. Send SASE for
complete list.
Janet Stessf, 517J N. McCle1lan Ave.,
Chicago, IL.506!+5
How
knoi-free, fine-grained pine is acceptable.
And it must be cured for six years.
The pine playing surface of a Gruber
zitheris covered by a veneer of palisander,
a handsome dark brown wood.
The outer ribs supporting the top and
bottom of the zither are fashioned from
tough maple root wood.
Buyers of Gruber instruments must be
patient. Five to six months of work by
Gruber and an assistant go into each zitirer.
As an instrument is finished a tiny
mother-of-pearl lyre--Cruber's
trademark-is inlaid in the surface.
The prices of Gruber zithers range
from 2,500 to 4,000DM.
Just 34, Gruber has'been building and
repairing zithers for l6 years. He le-amed
his craft in Ingolstadt and East Germany
where Wuensche and Meinel zithers cost
from 3,000 to 5,000DM.
Most Gruber customers are regional.
But artists from many lands, including
Americans from Chicago and philadelphia
own Gruber zithers.
Is your subscription to this newsletter paid? Then pass the subscription form along to
another
appreciate your support!
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ra*a
Zither Newsletter of the
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USA
First Class
ID
It{fll^Ill}l
iIrD
ffi
rGrlE*Flrtf
lliw
sl!
rS
b
.l!
.'
fur Konzert- und Harien-/Luftresonanz -Ztther
PYRAMID'Nyton'
Erstmal,q alle Bun,",tu",,"n aus hochfester Nytonse!de mrr
Melaildraht umsponnen Tonreln. sttmmfest uno senr hartE;3:
PvFAl,4lD'Eoeiklang'
Ern dlinner Slahlke'n mit aufgeschwerijtem
'Nylon'
Konzert-Zither-Saiten
'Edelkiano'
Konzerl-Zther-saiten
'vo lle lektr lsch'
Harlen-Auftresonanz-Zither-Saiten
H a rf
en-/Luttresonanz-Zither-Saite n
Ha
en -lLuft resonanz
Janet Stessl, 617t N. McCle:-an
Chrcaoo.
'Edelklang'
rf
Nylon-Mantd si mrt
jbertern Kuplerdraht umioonnen Hervorrageno gee:Ener
fur akuslrsches Sprel uno fur elektflsche Tonabnaime
Orrentrerungssarten stellen wrr mrt rollackiertem. korros,orsJeSchutztern Kup{erdrahl her Drese Sarten s,nd besser s,c:-G)a:
und behalten rhr Aussehen langer als brsher ubirch
versr
Fragen Sie lhren Fachhaindler nach PYBAMID-Saiten:
Konzert-Zither-Saiten
'Srahl'
Konzert-Zither-Saiten
Zlrher-Sairen
-Zther€aiten
'vollelektrrsch'
IL
50545
Alt-Zither-Saiten
'Nvlon' Grrfibren: Merarr 52
=n
Biss-Zither-sarten
'Nylon' Gnffbrett: Mensu 57 crrl
Ouint-Zther-Sahefl
'Nylon' Griffbrett: M€nsur 38cf;i
Perlecla-Zither-Saiten
efotrrr'Zthe r-Sartsri
F
Y'olhsmusik
-{Jpenllndische Lieder
und TInze - Ncucrschcinung
-J Zlher erngerr;hrct von GEORG
-::.tSL. Funf i'rnderlieder
T$/c.-
ltylon'
fnr Ziher
l\{enuette,
Landler und Sreirische
AIrc \telodien (Sammlung Zodcr, Knrffl-
:-: Ztricr elicin). Inhah. Schleifer aus Lan::ib:ch - \lcnuerr eus Tirol - Ze'iefeche -:rd,er - Osrcrrerchrs:hc Tanzq'crscn
i-rcii-Nr 5>17
DM 14,-
Hrndschrifr u. r.), fur Zirhcr solo bearbeirer
von V'ILLY ltlA)R. (Drei Sreirer, Deurschc
Tlnze um l8CC, Srockerruer Tanz, lvlenuett
rus Klausen, Tirernberger Hochzeitsstuckl,
Sudtirolcr Trfeisruck, Guggu-lllenuctr u. a.)
Be:rell-Nr.6515
DM lO,-
Lustig und sraad (Heft
Landlerisch aufg'spielt
{Liedebdruck
=-:: allcn Srrophcn, zusirzlrch leichrcr
Sarz
1)
i:,;kc rus dcr Sammlung Zoder u r., fur
l::cr
von FRiTZ V'ILHELI{.
rllcin
'\1:nuetr tcsetzr
aus Niederosterrcrch, Aire srevri-
;:e Tanze u. a.;
l:srell-Nr.65ll
DI{ 8.-
Alrc \lersen, fur Zrther-Solo und -Duo oder
fur :ndcre lvlelodre- und Begleirinsrrumente
brrrbcrtet von BRIGITTE AIIASREITER.
2 Stimme
als Beilrge
Besreli-Nr.6512
N{usikverlag Josef Preifiler,
Bnuhausstre6c 8. Tei
13
89,::{C5l
socc
Postfac h
DM 12,-
Mrinchen ,
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