Conical ring-key flute – Louis LOT (Villette)

Flutes

This beautiful Louis LOT cocuswood, conical ring-key flute is in playing condition.

It was made shortly after Louis Lot had retired and the company was under the ownership of Honoré Désiré VILLETTE – Lot’s first successor. Villette was born on 20.04.1827 in Sorel Moussel – a small village about 10 kilometres away from La Couture-Boussey. He started working for Louis Lot in around 1860 and was already living in the Lot’s home and workplace at 36 rue Montmartre by 1864. By then he was foreman of the workshop. In 1875, at the age of 48, he married the widow Caroline ROUGET and Lot was one of the witnesses at his wedding. Then the following year in 1876 he took over the company. By that time, metal flutes made up over 70% of the production and in 1877, metal flutes were given even serial numbers and wooden flutes had odd serial numbers. Villette continued with a high level of craftsmanship – enough for him to win a silver medal at the Paris Universal Exhibition of 1878. He retired at the end of 1882.

By checking the serial number, we can date this flute to 1876, when Villette took over the Louis Lot workshop.

The keywork is in very good condition. The G-sharp lever has perhaps been prolonged to aid someone with small fingers – making it very comfortable to play. The pads and corks seem to have been replaced not so long ago. There is a crack on the reverse of the head joint. This crack is around 120 mm long and was previously repaired using pins.

It is made of deep-brown coloured cocuswood with nickel silver keywork. It plays very nicely at a=440 Hz – making it perfect for any player.

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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