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828

Rudall Carte & Co Ltd

London, England

Comments: We do not often see alto flutes here (the last one was by Th. Boehm), yet they are a great pleasure. This instrument is a delight to behold, and shows that great skill and good taste remained at Carte's.

Material: This is a silver Alto flute from the great English alto-flutemaker Henry Green of Rudall and Carte (per Bigio). The attractive and well made silver mechanism shows great skill remaining at Carte's well into the 1960's.

System: The right hand mechanism is similar to the standard "hanging T" and "back clutch" in use for the C flutes. The left hand, on the other hand, is a brilliant, ingenious, and for the most part tasteful rendition of the artform. My favorite key is the Bb thumb mechanism. This runs down the flute on the same axle as the thumb B, drops down a tail which rests on a seesaw clutch, by which it raises the arm of the B axle! The tube is .019", and the tone holes are drawn and rolled.

Condition: This very attractive flute is in excellent original condition. Although there is a lot to look at, I see no signs of repair or alteration.

Pitch: Pitched at A=440.

Sounding Length: Sounding length 794 mm.

Measurements: Embouchure 12.83 x 11 mm.

Weight: 765 g.

Case: In original case, marked: RUDALL, CARTE & CO. LTD. 20, ROMILLY STREET, LONDON, W.1.

Sorry, sold.

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Photographs (click to enlarge):

This noble stamp rests on many of the finest flutes ever made.  In the 1960's a few of the great English flutemakers remained at Carte's after the Flutemaker's Guild group split off in 1961.  The great Alto flute maker Henry Green stayed, along with the renowned Fred Handke (thank you, Robert Bigio, for this information).
This is an historic flute, and it's beauty shows the great craftsmanship which gave this firm an enduring name of excellence.
This noble stamp rests on many of the finest flutes ever made. In the 1960's a few of the great English flutemakers remained at Carte's after the Flutemaker's Guild group split off in 1961. The great Alto flute maker Henry Green stayed, along with the renowned Fred Handke (thank you, Robert Bigio, for this information). This is an historic flute, and it's beauty shows the great craftsmanship which gave this firm an enduring name of excellence.
Alto flutes tease the maker with the task of shortening great stretches.  Makers, in turn, tease the players with their fancy, thanks to the need to put keys and touches in unusual places.
Alto flutes tease the maker with the task of shortening great stretches. Makers, in turn, tease the players with their fancy, thanks to the need to put keys and touches in unusual places.
In the center are the G# and A holes, covered by keys whose rod slides down underneath the Bb key to the right.
In the center are the G# and A holes, covered by keys whose rod slides down underneath the Bb key to the right.
The only aesthetic anomaly on this flute is the curiously strong vaulting connector from the A touch at right to the A key, at left.  The connection to the Bb in between happens on the back of the flute.
The only aesthetic anomaly on this flute is the curiously strong vaulting connector from the A touch at right to the A key, at left. The connection to the Bb in between happens on the back of the flute.
Here are the left hand keys, all very handsomely sculpted and finished.
Here are the left hand keys, all very handsomely sculpted and finished.
The lipplate and embouchure are similar to that on the standard C flute.  The size of the embouchure hole is 12.83 x 11 mm,.  This instrument is easy to fill.  The tone can range from quite pure to almost raunchy, at the whim of strong lips.  Unpracticed lips will be more at the whim of the flute, I think.
The lipplate and embouchure are similar to that on the standard C flute. The size of the embouchure hole is 12.83 x 11 mm,. This instrument is easy to fill. The tone can range from quite pure to almost raunchy, at the whim of strong lips. Unpracticed lips will be more at the whim of the flute, I think.
The wonderful backside of this flute begins with the great Bb and B thumb arrangement.  The Bb lever, to the left as usual, runs down a rod to the magnificent seesaw clutch.
The wonderful backside of this flute begins with the great Bb and B thumb arrangement. The Bb lever, to the left as usual, runs down a rod to the magnificent seesaw clutch.
The arm from the thumb Bb drops down to rest on the high side of the seesaw clutch.  The arm resting on the low side is attached to the Bb pad.  The Bb pad arm also extends to the right side, where it rests on an arm from the A key, and further to an arm coming up from the right hand F key!
The arm from the thumb Bb drops down to rest on the high side of the seesaw clutch. The arm resting on the low side is attached to the Bb pad. The Bb pad arm also extends to the right side, where it rests on an arm from the A key, and further to an arm coming up from the right hand F key!