Clair Godfroy piccolo
|1832 system piccolo with open G#, D foot.||Removed.|
Collard, A. & Co.
Serial number 88.
|This is Collard's Patent, although which of his many patents is illustrated here future scholars will have to determine. A. Collard is actually Mr. Collard Augustus Drake, who registered patents on flute keywork in 1878, 1880, 1880 (again), 1885, 1889 and for a piccolo also 1889. I do not have these patents in front of me, but I suspect they are all here on this flute. As a budding lexicologist of clutchology I am overwhelmed by this masterpiece. The basic system resembles Carte's 1867 system, having an open D, open G# and first finger F# (among other similarities). Beyond Carte, this flute endeavors to make key combinations easily available through a series of overlapping spades. Furthermore, to give an extra boost to the low end every note from E down has double holes, again with overlapping spade clutches (very tightly sprung).||Sold!|
Rudall & Rose
|This is Boehm's 1832 system, with the full, delightful and prophetic system as he originally designed it. Rudall and Rose have added their own contribution of 1832, namely their extraordinary Patent headjoint. This masterpiece of engineering, far more complicated than Boehm's mechanism, involves extremely precise lathework. The central function of this mechanism consists of a threaded rod divided in the middle and mathematically proportioned with threads of different grade. When the cap is screwed, the embouchure extends quickly away from the body to lower the pitch, while the headcork slides ever so slowly in the same direction, thus closing the space between the embouchure and the cork face, and keeping the octaves perfectly in tune. The late Jim Howarth explained this mechanism to me a while ago, and he was so impressed with Rose's extraordinary lathe work he jumped up (literally) and quickly set a piece of wood into his overhead treadle lathe. He wanted to demonstrate what he called a "four start" screw thread, which is the heart of Rose's mechanism. Even Jim quaked at the thought of dismantling and repairing these magnificent headjoints.||Sold.|
Louis Lot (SML)
|No image at this time||Lot system piccolo, with two extra headjoints by Eldred Spell.||Removed.|
Rudall Carte & Co. Ltd.
|This very beautiful flute is made with a thinned Cocus wood one-piece body, in the standard Boehm system, with a thinned wood Monel-lined headjoint, and an additional silver headjoint of surprisingly lovely playability. The footjoint is to C. Additional extras are the Brossa F#, the split E, and a "vented D key", which looks like a C# trill but plays D. This key, which has been disconnected, is supposed to be an adjunct hole to the D trill, making a true D which can then be used as desired (Bigio, and Rockstro p.185). The flute is described in a bill of sale from Edward Walker to "Lucy": "Your instrument is fitted with a "Vented D" key which makes a perfect tremolo from B-D, most useful in the last movement of the Ibert Concerto and it also gives a perfect trill from C-D in the second octave. You also have the Split E and a Brossa F# key, without which I could not live, as it makes many passages so much easier and more fluid." Edward Walker describes himself as principal flute of the London Symphony from 1946-1958, when he moved to the Philharmonia (Bigio questions the exactitude of these dates). Edward's father, Gordon Walker, was principal at the London Symphony from 1924-1946. Around 1955 he purchased this flute for his own personal use, and gave his old instrument, Carte #7620, to his son Edward. Gordon Walker then used this flute to his passing in 1965 (see original letter below).||Sold.|