Maximilian Schwedler (1853-1940)
Schwedler was Germany's last major exponent of the
conical-bore simple-system or Meyer
flute, which he played in his own 'reformed' models
as principal flautist in the Gewandhaus Orchestra (1881-1917),
and taught at the Leipzig Conservatory (1908-32).
Schwedler devised several modifications of the Meyer
flute between 1885 and 1898 with the aim of improving
its mechanism, response, and intonation while preserving
its traditional sound. Various Schwedler models were
built by F.W. Kruspe, Carl Kruspe Jr., and Moritz Max
Mönnig. In 1897 he published a treatise on his aesthetic
of flute-playing, Katechismus.
Like many German musicians of the time Schwedler placed
a high value on the history and traditions of music-making
he had inherited. His interests in early music were
reflected in pioneering performances on one-keyed traverso
with gamba and harpsochird in 1892 and in his numerous,
heavily annotated and even partially rewritten, editions
of early flute repertory.
Chapter 10, 'Nineteenth-century eclecticism', of Ardal
Powell's The Flute
(Yale University Press, 2002) contains more information
on this topic.