SICCAMA Flute – CHAPPELL, Samuel Arthur

Flutes

This flute really needs no introduction to many flutists – the famous ‘Siccama’ flute. The Siccama flute was invented by Abel SICCAMA (c. 1810–65). He was a Dutch professor of languages and amateur flutist who had settled in London. It seems that Siccama created several flute designs. But his ‘Diatonic’ flute, patented in 1842 would be his breakthrough and become known as the Siccama flute.

The literature confirms that Rudall & Rose decided against putting the model into production. So instead in 1846, he set up his own workshop with the flute-maker John HUDSON in his employ.

In a nutshell, the most important thing about this flute is that the tone holes are enlarged to get more power out of the instrument. The usually very small holes (3 for A and 6 for E) are not only enlarged, but also positioned further downwards along the flute towards the foot joint. Keys are therefore necessary to make it possible for the player to reach and cover the holes in a comfortable way.

Other makers would start producing the model both in England and abroad. One such maker was Samuel Arthur CHAPPELL (1834 -1904). Chappell was located at the 52 New Bond Street address in London between 1871 and 1901. So, this flute with its serial number 1315 must have been made during that time.

There’s a huge amount of detailed information and research results about the Siccama flute on Terry McGee’s website for anyone who would like to find out lots more. Just scroll down to ‘The Siccama Flute Story’ on his website. 

The flute plays at a pitch of a=458 Hz with the tuning slide fully inserted. The tuning slide has four engraved markings. When the tuning slide is pulled out up to the fourth marking, the flute plays at a=442 Hz. 

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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