Old Flutes

Saturday Afternoon Tea Time Talk
Rick Wilson
Boxwood Winter Weekend March 14, 2003 Eau Claire, Wisconsin
I. Renaissance and one-key (or more-key) flutes through 1800

Keyless renaissance flute, boxwood,
(by Philippe Alain-Dupr
e, after 16C flutes in Brussels)
A La Fontaine, Thomas Crecquillon
Early (three-part) one-key flute, boxwood,

(by Roderick Cameron, after Hotteterre, Paris, c.1700)
Preludes from Hotteterres LArt de Preluder
One-key flute, boxwood, stamped Lotz, mid-18th century?

Fantasia from Quantz
Six-key flute, ivory, by Richard Potter, London, c.1790

Airs from John Gunns Art of Playing the German Flute (1793).
II. Nineteenth century keyed flutes Nicholson, Tulou, and Furstenau

Six-key flute, boxwood, by W. Liebel, Dresden, c.1825
Excerpt from Beethovens Seventh
Seven-key flute, glass, by C. Laurent, Paris, 1834

Five-key flute, cocuswood, by Tulou, Paris, c.1835
Etude from Tulous Methode de Fl
ute (183351)
Nine-key large-holed flute, blackwood, by Wylde, London, c.1850

Tunes from Nicolsons Preceptive Lessons (1821)
10-key flute, blackwood, by Koch, Vienna, c.1820

14-key flute, stained cocuswood, by Koch, Vienna, c.1825
Excerpts from F
urstenaus Die Kunst des Fl
otenspiels (1844)
III. Boehm, and the rise of a multitude of systems

Conical Boehm flute, cocuswood, by Godfroy, Paris, c.1845
Sonata from Dorus LEtude

de la Nouvelle Fl
ute (1837)
Pentenreider flute, blackwood, by B. Pentenrieder, Munich, c.1845

Excerpts from Nel cor pi`
u non mi sento, theme varie, op.4, T. Boehm
Cylindrical Boehm flute, metal, by Bonneville, Paris, c.1912

Elegie-Etude, Jean Donjon
Scwedler-fl
ote, blackwood w/metal head, by V. Kolhert S
ohne. Graslitz, c.1910
Radcliff system flute, cocuswood, by Rudall Carte, London, 1927
Etudes from E. K
ohlers Op.33
1529
Agricolas fingering charts for keyless, cylindrical flutes
c 1670
c 1720
One-key flute with conical bore appears

Four-part construction appears; experiments with extended foot joint;
Quantz two-key flute (1726); Bach writes for transverse flute
Six-key flutes made in England
Keyed flutes becoming more common, as innovations and experiments continue;
popularity and usage varies greatly from one country to another
(Mozart d.1791)
Flutes extending to low G made in Vienna
Germany: 9-key flute with B-foot common
England: 8-key flute with C-foot standard, some with large holes
France: 5-key flute with D-foot standard
(Beethoven d.1827; Schubert d.1828)
c 1755
c 1790
1820s
1832
1847
Conical Boehm flute, wooden with ring-keys (Munich)

Cylindrical Boehm flute in metal (Munich)
c 1837
1840s
Conical Boehm flutes made in Paris; French make modifications

Conical Boehm flutes made in London and New York;
ongoing experiments with mechanism and new designs or systems: e.g.
Ward, Siccama, Briccialdi (London), Tulou/Nonon (Paris), Pentenrieder (Munich)
London: Carte 1851, Clinton Equisonant, and Prattens Perfected flutes;
cylindrical bore in use with a variety of systems;
Cylindrical Boehm flute (silver) adopted at Paris Conservatoire
London: Carte 1867 system, Radcliff system; Italy: cylindrical Briccialdi system
After criticism by Wagner, Tillmetz switches from cylindrical Boehm to conical
Simple system remains standard in most of Germany; the number of keys on
Viennese-style flutes can approach 20; Schwedler and Kruspes first model (Leipzig)
Schwedler and Kruspe Reformflote (1898) used in many German orchestras;
Boehm flutes found in a number of large orchestras, even some in Germany,
but ordinary flutes found in other orchestras, dance bands, homes, etc.
Boehm flute finally becomes the professional standard in England and Germany
(wood preferred in these countries); ordinary and reform flutes remain in use
1850s
1860
c 1870
1882
1885
c 1900
c 1930
Flutes (from the Wilson collection) are shown on the opposite page in the order in which
they appear (see front page).
The makers are 1. Allain-Dupre, 2. Cameron, 3. Lotz, 4. Potter, 5. Liebel, 6. Tulou,
7. Laurent, 8. Wylde, 9. Koch, 10. Koch, 11. Godfroy, 12. Pentenrieder, 13. Kohlert,
14. Bonneville, 15. Rudall Carte.
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Saturday Afternoon Tea Time Talk

I. Renaissance and one-key (or more-key) flutes through 1800

Early (three-part) one-key flute, boxwood,

One-key flute, boxwood, stamped Lotz, mid-18th century?

Six-key flute, ivory, by Richard Potter, London, c.1790

II. Nineteenth century keyed flutes Nicholson, Tulou, and Furstenau

Seven-key flute, glass, by C. Laurent, Paris, 1834

Nine-key large-holed flute, blackwood, by Wylde, London, c.1850

10-key flute, blackwood, by Koch, Vienna, c.1820

III. Boehm, and the rise of a multitude of systems

Sonata from Dorus LEtude

Pentenreider flute, blackwood, by B. Pentenrieder, Munich, c.1845

Cylindrical Boehm flute, metal, by Bonneville, Paris, c.1912

Agricolas fingering charts for keyless, cylindrical flutes

One-key flute with conical bore appears

Conical Boehm flute, wooden with ring-keys (Munich)

Conical Boehm flutes made in Paris; French make modifications

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