The conical ring-key flute – game changer of 1832

Flutes

It is known that towards the end of the eighteenth century, flutes with eight keys, or double and alternate keyed flutes were preferred among musicians. Yet things were to change drastically with the Theobald BOEHM (1794-1881)1832 invention – the conical ring-key flute. Sadly, it was to become a beautiful instrument that time simply forgot.

The clergyman and the ring keys

We have to rewind a bit backwards in time to find the actual inventor of the open or ring keys that would inspire the final flute design. So, we arrive in England in November, 1808 with Reverend Frederick Nolan. He obtained a British patent for an open-hole key for the flute. The key itself just had a rim and the pad of the finger was needed to cover the hole.  The keys were then linked to one another.

Nicholson’s inspiration and Boehm’s revolution

Portrait of Charles Nicholson (1795-1837)

Boehm was totally impressed by the tone that flutist extraordinaire, Charles NICHOLSON (1795–1837) produced at their meeting in 1831. Nicholson played his famous flute which featured large holes. Later in 1871, Boehm remembered this same meeting with Nicholson when he wrote to W.S. Broadwood, an English friend:

‘I did as well as any continental flautist could have done in London in 1831, but I could not match Nicholson in power of tone, wherefore I set to work to remodel my flute. Had I not heard him, probably the Boehm flute would never have been made.’

Boehm therefore intended to design a flute with larger holes that were spaced for better evenness of tone and improved intonation. He would change the flute design from regular covered holes to ring keys and he even added a thumb crutch for the left hand.

Theobald Böhm by Michael_Brandmüller (before1852)

A new system is born

Finally, the new system was born in Boehm’s workshop in Munich in 1832. The new 1832 flute had some distinctive features. Its tone-holes were as large as possible. The position of the holes depended on acoustical correctiveness and didn’t take into account the player’s comfort while playing [?]. It had ring keys! Plus of course, the bore itself remained conical.

Already in 1833, Boehm’s pupil Eduard HEINDL (1837-96) tried out the flute and employed it for a performance of a Fantasie by KUHLAU. Boehm went on to show and exhibit the new flute model internationally. In the space of just a few years, conical ring-key Boehm flutes were being made by GODFROY in Paris and in 1843, RUDALL & ROSE in London were licensed to manufacture the new model.

This 1832 flute construction was made in the end by numerous flute makers who brought it to perfection, such as Julius Max BÜRGER (1844-after 1921). At the time when it was invented, many composers and musicians believed it to be the ideal flute for their music.

We shouldn’t forget that this invention formed the base for the ring-key Boehm clarinet system too.

Aquarell – Ansicht der Stadt München von der Bogenhausener Höhe aus – Carl Friedrich Heinzmann – um 1835
Watercolour – View of the City of Munich from the Bogenhausen Heights – Carl Friedrich Heinzmann – c. 1835

At the time of Boehm’s invention, the life of a flutist seemed way to complicated with so many keys. The function of the keys on a traditional flute of that time was that the tone holes were covered and by pressing down the key and opening the tone-hole, a semi-tone higher was achieved. That meant that with so many keys added to the instrument, it had become difficult to play.

So, Boehm completely changed the idea because his keys were mainly kept open and by pressing the key down, the note was lowered by a semi-tone.  This new system was much easier to handle and to work with, especially with complicated keys and fast tempo.

Clear advantages and elegant sound

From today’s flutist’s point of view, the conical ring-key flute has clear advantages over the current modern cylindrical flute:

  • It has almost the same fingering as that of a modern flute
  • The sound is very touching, elegant and colourful
  • It mixes well with other instruments for chamber music
  • Flutists with a silver or gold flute can have another instrument to change the sound and the characteristics of the music they play

That is why a conical ring-key flute is an ideal addition to a modern flutist’s instruments.

LIBRARY OVERVIEW

Piccolo – RITTERSHAUSEN, Emil

This delightful piccolo in C was made by the renowned Berlin-based maker Emil RITTERSHAUSEN. Carl Emil Cäsar RITTERSHAUSEN (1852-1927) worked... read more

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

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