Ten-keyed romantic flute – Stephan KOCH

Flutes

This is a fabulous ten-keyed flute made in Vienna in 1851 at the workshop of the family of Stephan KOCH (1772-1828). 

Stephan Koch made all kinds of woodwind instruments, including bassoons, csakans and clarinets in his workshop in Vienna. However, he is most known for his improvements to the design of flutes and oboes and the superior quality of the instruments he produced.

When Stephan died, his sons continued making woodwinds with the same characteristics and quality. His eldest son, Franz Xaver (9.11.1800-28.2.1859) was in charge of the business and the workshop at the time this flute was made – 1851.

It is made of very rare and specially selected Cocuswood with nickel/German silver rings and ten keys. It looks amazing with its original case (unrestored), tenon covers, wooden grease pot (new grease of course!!!) and a handy screwdriver for those unexpected moments. The flute has been completely restored by one of Germany’s leading restorers.

The original embouchure of this flute had been previously enlarged at some stage in the past. As part of the restoration process, the embouchure was changed back to its original shape and size by Martin Wenner. Another instrument which had an original embouchure was used as a basis for this complicated reconstruction.

This flute is pitched at a=440 Hz with the tuning slide extended out to the second ring (9 mm). It has a wonderfully bright and powerful sound and plays the full register with a lovely colourful character. 

LIBRARY OVERVIEW

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Fife – CAHUSAC, Thomas Sr.

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Schwedler-style flute – ADLER, Robert Oswald

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Reform flute – V. Kohlert Söhne with Pupeschi system

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Bassoon – HUITTL, Ignaz

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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