English flageolet-piccolo – George BUTLER

Flageolets

This rare Cocuswood English flageolet with alternative piccolo head joint was made by a company led by George BUTLER (1795-1870) – the head of a family of instrument makers that were producing and dealing in brass, woodwind and many other instruments in Dublin and in London between 1826 and 1927. George started out in Dublin and was later in London. The company traded under the name ‘Butler’s Musical Instruments’ and its London base was at 29 Haymarket from 1865 to 1898.  His three sons worked with George until his death in 1870.

This instrument can be played as a flageolet or a piccolo with the same fingering. It is beautifully crafted and decorated with hand-engraved mounts/rings. The engravings feature flowers and leaves. The six silver keys are all hallmarked. It can be dated back to the1870s. It is supplied in its original leather covered case.

It is clear that this instrument was made for a very special player indeed.

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

Cocuswood

Cocuswood is the very dense hardwood of a Caribbean flowering tree called the ‘Brya ebenus’.

‘Brya ebenus’ belongs to the pea family ‘Fabaceae’ and is native to the Caribbean islands of Jamaica and Cuba. It also goes by the quite romantic name of Jamaica Rain Tree because it blossoms bright yellow-orange flowers right after it rains.

Cocuswood’s lovely medium to dark reddish-brown colour is further enhanced with dark blackish streaks. With time, its colour darkens. The grain of cocuswood tends to be straight or a bit wavy. It has a wonderful natural lustre and a fine, even texture.

So absolutely nothing to do with coconuts or coconut trees at all! Really!

With its amazing density, hardness and colour, it’s no wonder that this wood was considered to be one of the very best tonewoods and was widely used in the manufacture of woodwind instruments in the 1800s. It was an exotic, tropical alternative to woods such as boxwood, which were widely used at the time. Flutes, oboes and bagpipes were crafted in cocuswood as well as other items such as carvings or inlays.

Back then cocuswood was all the rage and sadly, due to this previous over-exploitation and the small size of its natural habitat, this wonderful natural resource has been commercially exhausted. So, it is not a protected species, but extremely expensive and difficult to source – making it a very special wood indeed.

 

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