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Ontwikkeling van de
fluit
De algemene ontwikkeling van fluiten
heeft een lange periode
doorgemaakt .
We praten dan over een ontwikkeling
van
tienduizenden jaren , van
primitieve beenfluit tot de huidige
moderne dwarsfluit van nu .
De eerst
gevonden primitieve fluiten
werden gemaakt van been en zijn
naar
schatting ongeveer 40.000 jaar
oud . Sommige schattingen
van
Neanderthal
beenfluiten gaan zelfs
nog verder terug in de tijd , deze fluiten
waren uiteraard zeer beperkt in materiaal-
gebruik (been)
en hadden aanvankelijk
een toonomvang van slechts enkele
tonen .
De karakteristieke fluitklank was
toen echter al wel heel duidelijk
aanwezig . 3000 jaar geleden trof men in Oost-Azië
al dwarsfluiten aan .
Ook in Egypte bestond de dwarsfluit al , echter
het aanblazen werd
niet met behulp van een mondstuk maar via een open
uiteinde van
de buis gerealiseerd .
De
Europese dwarsfluitontwikkeling , tot de huidige vorm van de
moderne
dwarsfluit nu , heeft ongeveer 700 jaar in beslag
genomen en is rond
1660 pas echt goed in een stroomversnelling
gekomen .
De eerst gevonden dwarsfluittekeningen dateren van omstreeks
1320 .
Lees meer over : Flute
history
Theobald Boehm kan gezien worden als de vader van de
huidige dwarsfluit . Hij heeft o.a. alle toongaten groter gemaakt en deze
allemaal voorzien
van kleppen , de boring cylindrisch aangepast en
verbeteringen m.b.t.
het mondstuk ( reform-mondstuk ) toegepast
.
Het Boehm-systeem is een technische voorziening met brillen
(klarinet)
en kleppen voor blaasinstrumenten zoals de dwarsfluit , het spelen
van
de instrument-eigen toonladder wordt
hierdoor gemakkelijker gemaakt .
Dit systeem is rond 1832
ontwikkeld door Theobald Boehm
en in 1843
werd het systeem door Hyacinthe Klose overgezet voor de
klarinet .
Omstreeks 1847 heeft Boehm zijn akoestische studies en
experimenten
vastgelegd in een essay
, dit is baanbrekend geweest voor de ontwikkeling van de huidige moderne
fluit .
Overzicht van de belangrijkste mechanische
ontwikkelingen van de dwarsfluit :
2007
Today most professional flutes are made to the specifications to the
Cooper scale, with B foot extending the range.
1967 J. MOORE A. Murray collaborates with G.Moore,
well known maker with the
Armstrong company. In 1972 they bring out
production model flutes and piccolos.
Other advances : - duplicate
G# lever “gizmo key”, split E key.
1961 J. MOORE Murray’s next model, - the “MARK I”
appears.
1948 A. COOPER Murray, - flutist and teacher collaborates
with Cooper and ELMER COLE,
based on the Cooper scale with corrected C#
key.
1930 BOOSEY & HAWKES Merge
together.
1917 – 1956 BUTLER London Large quantities of flutes,
- mostly fifes. Also Irish warpipes !!!!!!
1915 – 1926 WALLIS London Agent for several makers.
Stamping his own name. Makers
(Father & Son) of GIORGI. flutes and
fifes.
1914 MARIGAUX Paris Worked with LOREE in 1940. Joined
STRASSER & LEMAIRE.
Many well made flutes.
1900 CASOLI Milan Inventive maker of keywork. Worked
for flute maker BARLASSINA.
End of the 19th Century The flute appears
in the orchestral scores of Brahms,
Strauss and Tchaikovsky. Solo
literature expands rapidly with virtuosic showpieces
becoming the
fashion. Flutes are able to play music that was technically demanding
for pre. BOEHM instruments. The extended range used by composers of
the
romantic era, demands a flute which can play an excess of three
octaves.
1890 SCHAFFNER Italy - Florence Made experimental end
blown flutes for GIORGI.
Plated metal.
1880 HAYNES U.S.A. Boston First to introduce drone
toneholes. (Saddles drawn
from the flutes body). In 1914 made
aluminium bodied flutes. In 1935 they made a
gold flute for G.
Barrère. One of the leading flute makers this century.
1878 BERGONZI
Italy He patented an end blown head joint flute. Normal lip plate
with
a spherical plug mounted on the head. Held vertically.
1877 BOEHM Perfects his “modern silver flute” the
Macauley flute is silver with
gold embouchure, gold springs, a B foot
and is “unsurpassed by any of BOEHM’s creations”
1877 -1899 RIVE & cie. Paris Won many medals in
Paris.
1870 RUDALL & CARTE Liverpool Made Radcliffe’s
own model.
1862 LAFLEUR London Importers of musical instruments.
Taken over by BOOSEY
& HAWKES in 1940.
1860 BOEHM Flutes adopted as the official instruments
of the Conservatoire de Paris.
1860 HAWKES London Woodwind and brass maker merged
with BOOSEY in 1955,
took over RUDALL & CARTE in 1930 and aquired
BUFFET CRAMPON in 1981.
1855 CLINTON Ireland Adapted 8 key model to BOEHM
system, in 1862 :
Model with cylindrical bore and equally
graduated tone holes, diminishing in size
towards the head joint. The
idea had already been tried with BOEHM and discarded.
1855 BOEHM BOEHM Flute wins gold medal at Paris
exhibition, to general acclaim.
New players make great advances thanks
to BOEHM’s mechanical breakthrough.
1852 – 1868 SICCAMA / BOOSEY & Co. In 1848
PRATTEN (A musician) changed
his 8 keyed RUDALL & ROSE for a
SICCAMA. PRATTEN designed his own flute in 1852,
and had them made by
BOOSEY & Co. in 1856. They were little different from the
common 8
keyed flute. As he had an aversion to extra keywork, believing it had
a detrimental effect o the tonal qualities, however he later developed
flute with
a cylindrical bore, large tone holes and with up to 17
keys ! This was his “Perfected flute”.
In spite of it’s
clumsyness it was a popular model. PRATTEN Experemented with
interchangeable body sections. Attempted to solve problems of varying
pitches.
He is reputed for a very powerful tone and
execution.
1851 FRERES MARTIN France New F# key. Helped by the
musician CARTE.
1849 RUDALL & ROSE BRICCIALDI’s Bb thumb
plate.
1847 BOEHM Sells rights of manufacture to RUDALL
& ROSE, GODFROY & LOUIS LOT
in Paris. Published the famous
“Flute and Flute playing in acoustical technical and
artistic aspect”.
BOEHM Flute imported to New York.
1845 Doctor BURGHLEY London Angled wood head joint
Flute in Mahogony and
decorative wood. Keys made of wood ! Angled
head joint made to be played at 45
degrees across the
body.
1845 GAUTROT Paris Made many French style BOEHM
flutes. In 1884 business
merged with COUESNON.
1846 BOEHM Experiments with cylindrical bore, based
on a “parabolic curve”,
(17mm diameter in top of instrument to 19mm in
middle of body). Enlarges
the embouchure to quadrangular shape,
producing fuller, clearer tone. Compiles
his Schema for finger hole
placement. Pads are improved by covering the inside
of closed key with
felt and the rims of open keys with skins which are held together
by
screws and washers. He experiments with different metals, decides on
silver
for the best tone quality and least fatiguing to
play.
1844 – 1882 BLACKMAN London Made several 8 keyed
flutes
1844 – 1874 BRETON Paris Learned from LAURENT, many
flutes in glass
highly prized by collectors
1841 SICCAMA London His Ideal was for keyless
chromatic flute. Early ideas
were inferieur toexisting models.
RICHARDSON & PRATTEN (Musicians), Played
his model but soon ousted
by BOEHMS superior models. MAHILLON made his
models in Brussels in
1850 and HUDSON too.
1840 – 1872 PASK London Woodind and Brass maker.
Associated with composer
KOENIG. Made a flute of plated brass. Bore
extremely conical, 8 keys. Foot joint
with pewter plugs made in
1850.
1840 MUSICAIANS The Flute payers Ribas (Spain) and
Richardson (London) Ribas
played 8 keyed flutes all his career, (1796
– 1861), with powerful tone. Richardson
(1814 – 1862), studied with
Nicholson. Played on SICCAMA Diatonic flutes, -
called “THE ENGLISH
DROUET”. They were both famous for double tongueing,
and production of
glide effects by sliding fingers on toneholes.
1840 RUDALL & ROSE Begin Manufacturing BOEHM
flutes in London along with
C. GODFROY in Paris.
1839 WARD Liverpool Manufactures BOEHM’s flute in
London.
1838 – 1880 WYLDE London Flute and oboe maker. He
worked for RUDALL & ROSE in 1831.
1838 BUFFET Paris BUFFET and collaborator COCHE
(Paris). COCHE studied flute
under TULOU, one of the first to adopt
BOEHM’s system. BUFFET add D# trill and
DORAS another maker ads G#
key.
1837 BUFEET Paris Improves on BOEHM. Changing
axles, hole placements, lugs,
rods, sleeves. (The latter holds rods
and axles together).
1834 BOEHM BOEHM’s flute gains popularity in France
and Germany with professional flutists.
1833 – 1839 GORDON Paris Experimental diatonic flute.
Crescent shaped touch-piece.
Studied flute under DROUET in 1831.
RUDALL & ROSE made models to his design.
GORDON had probably
influenced BOEHM for linkages.
1832 BOEHM Inspired by hearing Nicholson. Changes
from standard covered holes
to ring keys,(See F. NOLAN 1808), - “open
holes” producing clearer tone and better intonation.
He also aids
finger action by adding a thumb crutch for the left hand.
1831 BOEHM Presents his new model in Paris and London
Performances.
1830 BOEHM New model finished.
1829 BOEHM Finger holes still too far apart, new
fingering system, builds his own
machine for boring holes. He uses
pillars, posts, flat gold springs and rods.
1829 GOODLAD Ascotiation of WILLIS and
GOODLAD
1828 – 1850 KOSH Vienna Excellent flute
maker.
1826 – 1856 BILTON London Good
workmanship.
1821 – 1827 KAUFFMANN London 8 keyed flutes in Ivory.
7 keys in bone.
His mark is a birds head.
1824 POTTGIESSEN Germany He added ring keys to 7
keyed model. His first model
was with 1 key, larger bore, shorter
length. Second model included ring key for C# hole.
It was a ring and
crescent design, reduced the size of C# hole improving intonation
of
forked F natural. He also suggested roler for thumb keys. It was rejected
but used later.
1822 NICHOLSON FATHER & SON Adjust key position
and make a narrower bore.
1821 RUDALL & ROSE Made flutes we now use and
copy for Irish music.
Usually 8 keyed with bore expandind on the
tenons. They made small holes for uniformity
of sound. (Ex. No 592
edinburgh made in 1845). Second model with bigger holes
for more power
(Ex. Bate collection no. 132 made in 1830).
1821 WILLIS Made their
first flute.
1820 PROWSE & CLEMENTI Enlarged embouchure for
more volume of sound.
“NICHOLSON’s improved” sold by CLEMENTI & Co.
and PROWSE. NICHOLSON
junior preferred flutes by ASTOR &
POTTER.
1814 – 1842 BELLISENT Paris Made a flute for TULOU
with 8 keys in silver (keys).
1813 – 1826 WHEATSTONE London Maker and teacher.
Designed a mouth piece
for directing the air o the cutting edge, later
he took TOWNLEY’s Idea to play the flute vertically.
1815 -1821 TREXLER Vienna Many of his flutes were of
unusual design.
He produced a 17 key model – “Panaulon”. Many had keys
to low G.
1814–1847 J. WOOD London Makes 3 telescopic tuning slides
for for changing
pitch by a semitone. The tube was marked with sharp
(#), natural and flat (b)
calibrations. He associated with
IVY.
1810 MILLER London Starts making metal
flute.
1809 – 1839 MONZANI London Introduced Tuning slide in
the barrel and introduce a
new pad fixed in place with a washer and a
nut like modern classical flutes.
This made the pads easier to seat.
He also composed duets and trios for the flute.
1808 – 1845 GEROCK London He made a quantity of
instruments with WOLF.
1808 F. NOLAN Essex Invents open holes (Rim only,
finger pad covers hole).
Constuction of open standing keys, with a
single lever or a linked pair.
1808 TOWNLEY He made 2 levers operated by the left
hand thumb, to lengthen
and shorten the tuning slide whilst playing.
He also made a mouthpiece to be fitted at
the end of the flute to play
it vertically. Extra key to close small hole when sounding
low D, to
assist the tone.
1806 – 1848 LAURENT Paris Makes 3, 4 and 7 keyed
glass flutes. One of the first
to use forged steel springs. Glass for
the tube, silver strengthening tenon for the joints.
Longer springs
and pillars, mounted on plates, screwed to the glass tube.
1805 – 1870 WARD Liverpool Worked with MONZANI before
setting up his own
workshop in 1842. Made a flute with needle springs,
5 keys operated by the left thumb
to assist the tone. Creative and
good instruments.
1802 CLEMENTI Italy London Excellent quality
instruments. In 1830 it becomes
CLEMENTI CLLARD & COLLARD. Later
in 1818 he enlargers the holes for NICHOLSON.
1800 Flutes start
appearing in Beethoven’s symphonies
1763 – 1836 MILHOUSE Newark ! Highly important
woodwind maker in Nottinghamshire.
Later he went to London. Good
instruments.
1798 – 1866 D’ALMAINE London In association with
GOULDING they produced
good quality woodwind and brass. They were
connected with WOODS POTTER PHIPPS.
1790 – 1838 ASHE (A musician from Ireland) Played a 1
keyed flute and after a
G keyed by POTTER. Great soloist and
teacher.
1790 METZLER London With his son G. RICHARD, the firm
became one of the
biggest music houses in London until the 20
century.
1790 Four keyed flutes appear in the symphonic
orchestra of MOZART and HAYDN.
1789 WILSON Scotland A Shoe maker in Glasgow made a
flute out of leather !
1777 – 1795 PROSER London T. BOEHM started playing
his flute when he was a boy.
1 keyed in boxwood.
1782 J.H. RIBOCK Germany Adds closed C
key.
1785 – 1848 W. POTTER London Made a moveable tuning
slide on the foot joint.
His son W.H. POTTER made sliding keys to
enable glide effect used by NICHOLSON.
His Son took the business. They
made enormous quantities of flutes with 8 keys.
The firm S. POTTER now
in Hampshire may be related but now they specialise
in Military
instruments.
1778 – 1836 ASTOR London Made good instruments with a
strong clear sound.
1765 – 1793 COLLIER London Good quality instruments
succeeded by J. HALE
1760 – 1794 COTTON London Well made and good playing
quality instrument.
1760 – 1795 FLORIO Italy. The first musician to adopt
the 8 keyed flute. Great player
and rival of J. TACET. His name is
stamped on the flute but it’s not sure that he was the
maker.
1754 – 1769 C. GEDNEY London Sucsessor of STANESBY.
He produced the earliest version
of six keyed flutes in
1769.
1755 – 1816 CAHUSAC FATHER & SON
1750 D. NOBLET Paris Founder of the famous woodwind
making firm. Flutes by F. Noblet
bear the mark of a Nightingale.
Business sold to G. LEBLANC in 1904.
1744 ROTTENBURGH Brussels Important family of
woodwind makers. High quality
flutes and reacorder.
1741 – 1726 VILLARS Paris
1736 HALLET London
1726 – 1756 SCHUCHART London
1726 BIGLIONI Rome Made a flute for QUANTZ with C#
key on footjoint, but Quantz
considered this key to be detrimental to
tone and tuning.
1726 QUANTZ (died 1773) Had added to his flute whilst
in Paris the Eb and D# key
added plus a screw stopper to help when
playing softly instead of covering the hole with
the
lips.
1722 QUANTZ Hanover (musician) Adds tuning Corks in
the head joint and C# key on
the foot joint.
1716 – 1752 BIZEY France Important Woodwind maker in
Paris. He made four
section flutes in Ivory.
1720 HOTTETERRE Normandy Corps de rechange. The first
to make flutes
in sections. (Development from their bagpipe making
days). The bore ahs broken profile.
Cone and cylinder may meet end to
end, or bores of two joints may meet in an
abrupt step. Renaissance
turnery was applied to the thickenings left in the wood
or Ivory to
give strength to the sockets where the various joints meet.
HOTTETERRE fluit
1700 HOTTETERRE Normandy Corps de rechange. As many
as 7 sections were provided
by some makers, - to change pitch. Two
keys added.
1700 – 1724 BRESSAN England Important flute and
recorder maker. High quality and
greatly prized by collectors and
recorder performers.
1700 – 1754 STANESBY England Important woodwind
maker. Fine instruments
including Bassoons recorders, oboes and
flutes. Taken over by C. GEDNEY in 1754.
1690 – 1715 RIPPERT France Worked with HOTTETERRE and
produced some
very fine instruments.
1670 CHEVALLIER France Earliest known example of 1
key fitted D#. Conical bores.
Tapers down to middle, placing holes
closer together and smaller finger holes.
1636 Flute Allemandes (German) appear. Keys of G and
D with new Cylindrical bore.
1619 “Syntagma Musicum” German composer PRAETORIUS
earliest work to show
transverse flute in differing size. Portrays “3
Querflotten” with two octave ranges.
1529 DESCANT Alto, Tenor and Bass versions
appear.
1511 Zwerchpfeiff Popular flute in alpine regions.
Extended body length mostly at head joint.
1320 Early one piece wooden flute appear in
drawings.
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