Ebonite

Ebonite

Ebonite was invented in 1839 by Charles Goodyear. He found that he could obtain a black material, which was rigid rather than elastic, by mixing together and heating latex and sulphur. The result was a hard rubber and it was given the name ebonite because both the colour and consistency were very similar to ebony (heartwood).

Ebonite would go on to be used in the manufacture of many objects including high-quality fountain pens, bowling balls, clocks, electrical insulating material or saxophone and clarinet mouthpieces.

Ebonite was also employed as an alternative material for making flute bodies. It seems it was first used in flute making in the mid-1800s by New-York-based Alfred G. Badger and other makers followed suit. It was thought to be very advantageous as a material because it did not absorb water, was durable and difficult to break. It was also a bad conductor of heat which meant that alterations in air temperature would not affect the pitch of the flute. It was therefore deemed highly suitable for military instruments,

The famous ‘Giorgi Flute’ was made entirely of ebonite (with metal rings) rather than wood by the London firm Joseph WALLIS & Son Limited in around 1900. It was not only constructed in this new hard rubber material, but had no keys! Boosey & Co employed ebonite to make many of their instruments, but especially military models, including a bassoon made entirely of ebonite or with just an ebonite wing.

Ebonite Giorgi flute
Boosey & Co bassoon with ebonite wing
LIBRARY OVERVIEW

Flute – KLEMM, Carl August

This beautiful ebony flute was completely restored.It is stamped with the marks of Carl August KLEMM (1769-1830). He was born... read more

Bass ophicleide – A.G. GUICHARD

This bass ophicleide was made perhaps around 1840 in Paris by the August G. GUICHARD workshop. This important maker would... read more

Fife – CAHUSAC, Thomas Sr.

This boxwood fife is very old indeed. It was made around 1780–90 by one of London’s famous instrument-making families –... read more

Emil Rittershausen – Boehm flutes made in Berlin

Who better to make Boehm flutes than a flute maker who received first-hand training from Mr. Boehm himself? Carl Emil... read more

Schwedler-style flute – ADLER, Robert Oswald

This Schwedler-style flute was made by Robert Oswald ADLER (1865-1946). ADLER is another famous surname in German woodwind instrument making.... read more

Reform flute – V. Kohlert Söhne with Pupeschi system

This reform flute was made by V. KOHLERT SÖHNE. The Kohlert company was founded in 1840 by Vincenz Ferarius KOHLERT... read more

Flicorno – ROTH – CONTINI

Ever seen a flicorno before? We haven’t! This really special combined B-flat & F flicorno is one of a kind!... read more

Bassoon – HUITTL, Ignaz

The maker of this bassoon was Ignaz HUITTL. He was active making instruments around 1800 in the city of Kraslice... read more

E. Rittershausen, Berlin

One of the beautiful stories of mythology tells of the way the first musical instrument was suggested. As the story runs, as Orpheus was walking along the shores of the sea, his foot struck a reed that had been cast up by the waters, and had dried in the sun. The reed gave forth a soft, sweet sound as it was made to vibrate by the stroke of Orpheus’ foot and the result was the lyre or hand-harp of the ancient Egyptians. A similar story, and probably the same one adapted to the wind instruments, is that of Lucretius which says that “the simple flute had its origin from the breathing of western winds over certain reeds,” and thus was suggested the musical pipe, or simple tube, which has developed into one of the most fascinating of instruments.

The most elaborate and beautiful collection of flutes ever displayed in the United States, and probably in the world, was seen by visitors to the German section of the Columbian Exposition. The display was that of E. Rittershausen, of Berlin. It was arranged in a large, square glass case, and consisted of flutes made of various woods, of Ebonite and of sterling silver. The Rittershausen flutes are the standard of the world, and have received the indorsement of the best performers upon this favorite instrument. Until 1832 the flute was not regarded as a perfect instrument. In that year Theobald Boehm, of Munich, brought the instrument to such a degree of perfection as to make it one of the most prominent of orchestral and solo instruments. The Rittershausen flutes are made exactly upon the Boehm system, and with such wondrous skill and delicacy of workmanship as to have long since become the favorite of discriminating flutists. It is, in fact, the instrument universally referred to when the Boehm flute is desired.

Like the illustrious Boehm, Mr. Rittershausen is also a virtuoso as well as a manufacturer, devoting his entire faculties to the production of a perfect flute. By his own practical skill he is enabled to appreciate the many details and requirements in the construction of such an instrument as is demanded by the most fastidious virtuoso. This, it will readily be seen, is an invaluable consideration in the selection of a flute by a skilled performer. And in the rapid progress of musical culture of America, there are many lovers of the beautiful instrument who are its admirers and enthusiastic students at the present time.

Living in the musical city of Berlin, Mr. Rittershausen is thrown in personal contact with the greatest flutists of Europe, thereby receiving many suggestions from them that are of incalculable benefit in the manufacture of his instruments. The Rittershausen factory is located at 107 Bergmann street, Berlin, and its product has been famous from the establishing of the present business in 1870. Each year adds largely to the number of Rittenhausen-Boehm flutes in use in America, and they have received the highest testimonials from the most famous composers and performers in this country as well as those abroad. The American representative of the Rittershausen flutes is Mr. Carl Fischer, No. 6 Fourth Avenue, New York.

Musical Instruments at the World’s Columbian Exposition – Frank D. Abbottt, Charles A. Daniell – 1895 – P. 200