This splendid early Romantic flute was made by the crème de la crème of Viennese master woodwind makers Stephan KOCH (1772-1828). We think this instrument was made around 1820 while Stephan was still alive before his son Franz took over the workshop. Take a moment to listen to it yourself,...
This beautiful, solid-silver flute was made by the Bonnevilles – one of France’s finest flute-making workshops. Founded by Auguste Adrien BONNEVILLE (1819-1895), the business would endure three generations of expert instrument makers. At first glance, we can admire the high level of craftsmanship evident in every millimetre of this flute....
Here is a three-part flute made by the Bavarian maker Georg HEIDEGGER (1815-1859). Georg Heidegger was the first of a family of instrument makers. The family was active in Passau, Bavaria, Germany and Linz, Austria from the nineteenth right up to the twentieth century. The flute is crafted in grenadilla...
This short story centres on a young man from the small village of Bessancourt in France. He would establish his own workshop in Paris, specialising in the art of making exquisite handmade flutes, ultimately becoming one of the most renowned flute-makers in French history. The business would endure across three...
This silver Boehm flute was made by the renowned Berlin-based maker Emil RITTERSHAUSEN. Carl Emil Cäsar RITTERSHAUSEN (1852-1927) worked for Boehm & Mendler before setting up his own workshop in his native Berlin. His Boehm flutes and piccolos were much in demand by professional flutists worldwide. His partnership with...
This gorgeous Wm. S. Haynes inline flute is crafted in solid silver and is also rare. Why rare? By consulting the company website, we can date this flute # 22842 to January 14, 1953. It is specified as a THM French flute. THM meant Super Thin Wall, so with...
The HAYNES surname is synonymous with Boehm flute manufacture in the USA. But it’s all somewhat confusing – same name, no relation plus family ties and feuds. The main story is of course one of two brothers… isn’t it? John C. HAYNES (1830-1907) The first Haynes to mention is John C. Haynes...
This delightful piccolo in C was made by the renowned Berlin-based maker Emil RITTERSHAUSEN. Carl Emil Cäsar RITTERSHAUSEN (1852-1927) worked for Boehm & Mendler before setting up his own workshop in his native Berlin. His Boehm flutes and piccolos were much in demand by professional flutists worldwide. His partnership...
This boxwood fife is very old indeed. It was made around 1780–90 by one of London’s famous instrument-making families – the Cahusacs. It has certainly stood the test of time marvellously –the boxwood looks wonderful, the tone-holes perfect and the embouchure intact. It has a new head cork. It even...
Who better to make Boehm flutes than a flute maker who received first-hand training from Mr. Boehm himself? Carl Emil Cäsar RITTERSHAUSEN (1852-1927) or just Emil Rittershausen worked at Boehm & Mendler before he set up on his own in Berlin to make Boehm flutes and piccolos. Theobald Boehm described...
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.
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
