Silver flute – LEIBL, Ernst Robert

Flutes

Here we have a jewel of silver flutes… which is also extremely rare! It was made by Ernst Robert LEIBL (1871-1957), who took over the famous Boehm & Mendler workshop in 1903. He continued to construct his instruments in exactly the same manner. It is estimated that LEIBL only made around 100 flutes and perhaps just 20 may still be in existence today.  This flute dates from around 1910.

The flute is constructed of solid silver, featuring soldered tone holes, gold springs and a gold lip plate and riser. Only the crown and screw cork are not original. It is supplied in its original wooden case (damage to the lock and no key) and leather zip case cover.

The instrument belonged to a professional player and has very good playing characteristics, which are typical of this late nineteenth/early twentieth-century model of flutes. The sound epitomises bright shininess and elegance.  The flute plays at a pitch of a=439 Hz with the head joint completely inserted.

In terms of condition, the flute is in playing/working condition and was overhauled some years ago. Some of the tone holes at the top of the instrument were inlaid with metal washers to correct the instrument’s intonation [see photos]. These washers are not original and can easily be removed.

Unlike the flutes by Theobald Boehm (1794–1881) and Boehm & Mendler, this particular flute has a closed  G-sharp key  . This means that it can be played like a regular modern flute. So, it’s the perfect choice for anyone who ever wanted to own and play on an original flute which forms part of the Theobald Böhm, Böhm & Mendler and Robert Leibl legacy.

LIBRARY OVERVIEW

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Bassoon – HUITTL, Ignaz

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G-sharp key

Open/closed G-sharp key
The open G-sharp key was promoted by Theobald Boehm. So, G-sharp is fingered like a G on the modern-day flute and G is fingered like the modern-day G-sharp. The open G-sharp key mechanism avoids having an additional second G-sharp tone hole, which is not optimal in acoustical terms.
The closed G-sharp key is the regular mechanism on modern day instruments as well as traditional conical wooden more-keyed flutes. G-sharp is obtained by pressing the G-sharp lever. G is produced by pressing down all four fingers of the left hand.
Theobald Boehm’s open G-sharp was not successful in the end and is no longer used in flute-making, with some exceptions.

 

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