Wilhelm Liebel (1793-1871)
Dresden flute maker whose instruments were favored
Bernhard Fürstenau, an influential exponent
of the traditional keyed flute and a favorite of the
composer Carl Maria von Weber. Most German flutists
felt instruments like Liebel's allowed them the maximum
of tonal flexibility and blend in an orchestral wind
section, in contrast to the uniform and assertive sound
of the new Boehm flute
which they considered suitable only for solo playing.
Liebel's instruments were among the most refined and
responsive of 19th-century German keyed flutes, fitted
for expressive performance in the salons of middle-class
houses as well as in the concert hall. After about 1850,
a type developed by Heinrich
Friedrich Meyer of Hamburg came into widespread
use in Germany and central Europe.
Chapter 10, 'Nineteenth-century eclecticism', of Ardal
Powell's The Flute
(Yale University Press, 2002) contains more information
on this topic.