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932

Rudall and Rose

Stamp: Stamped on midjoint: RUDALL & ROSE / No. 15 PIAZZA / COVENT GARDEN / LONDON / 3036. On barrel, heart, and foot: RUDALL & ROSE / LONDON.

Comments: The 1832 patent headjoint was a huge advance in flutemaking skill, yet perhaps of a bit less importance to flute playing. The magical movement of the cork and the tuning slide in tandem yet at different speeds is somewhat offset by the added weight to the headjoint. Nonetheless, these are the highest professional model of the Rudall & Rose flute and were made with extra lavished care and skill. This flute is unrestored, so unplayable at the moment. Every indication shows that this was, and will be again, a lovely and magnificent example of Rudall and Rose at their best.

Material: This beautiful flute is made of cocus wood with silver keys and trim. Patent headjoint adds materials.

System: This is the professional English flute of the day, with 8 silver keys and a footjoint to C, and the special R&*R Patent headjoint.

Condition: This flute would be in near-mint condition were it not for the nasty crack through the embouchure. Even the thread and pads look original. Alas, the patent headjoint makes fixing this crack even worse than usual. The repair here can be done in several ways, so we are leaving it to the next owner to choose how they want it done. There is also a crack in the barrel, but this is essentially inconsequential. The rest of the flute is perfect. There is some small sign of wear from use on the toneholes, and long fingernails on the left hand. The case is split at the hinge, and the original cork grease container has an open crack.

Pitch: This is a bit longer than many Rudalls, so it is probably high pitch but playable at A=440 when extended about 1 cm.

Sounding Length: Sounding length fully compressed is 583 mm.

Weight: 482 g.

Case: In probably the original case, with an undated and unnumbered certificate signed by Rudall and Rose.

Sold.

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Photographs (click to enlarge):

Rudall and Rose 3036 was made between 1838 and 1847, when the firm was at this address.  This beautiful instrument is modestly used.  Except for the  embouchure crack it is in perfect original condition!
Rudall and Rose 3036 was made between 1838 and 1847, when the firm was at this address. This beautiful instrument is modestly used. Except for the embouchure crack it is in perfect original condition!
This famous relief is on the crown of the 1832 patent flutes, whereby the cork and the tuning slide both move when this knurled crown is turned.  Inside is a four-start thread, whose great accuracy moves the cork out at a slower rate than the tube, bringing it closer to the embouchure as the head is enlarged.  Fully closed the cork is 20 mm from the center of the embouchure hole; with the head screwed out 25 mm, the cork is at 16 mm from the embouchure center.
This famous relief is on the crown of the 1832 patent flutes, whereby the cork and the tuning slide both move when this knurled crown is turned. Inside is a four-start thread, whose great accuracy moves the cork out at a slower rate than the tube, bringing it closer to the embouchure as the head is enlarged. Fully closed the cork is 20 mm from the center of the embouchure hole; with the head screwed out 25 mm, the cork is at 16 mm from the embouchure center.
Here we see the flute in what may be the original case.  The certificate, signed by Rudall and Rose, does not bear the number or date of the flute.  The certificate is certainly authentic, but we don't know if the case was in fact sold with this particular flute.
Here we see the flute in what may be the original case. The certificate, signed by Rudall and Rose, does not bear the number or date of the flute. The certificate is certainly authentic, but we don't know if the case was in fact sold with this particular flute.
Here we see the reason why this flute is not more expensive.  The headjoints frequently crack on lined flutes, and the embouchure is alas the point of least resistance.
Here we see the reason why this flute is not more expensive. The headjoints frequently crack on lined flutes, and the embouchure is alas the point of least resistance.
The midjoint tone holes show the classic Rudall and Rose scale, with the half-steps of the D scale adjusted for comfortable finger placement and harmonic unity.  This is not an easy task, and John Rose worked with the bore, the undercutting, the size, and the placement of the holes to make the most popular and successful English Romantic flutes ever produced.
The midjoint tone holes show the classic Rudall and Rose scale, with the half-steps of the D scale adjusted for comfortable finger placement and harmonic unity. This is not an easy task, and John Rose worked with the bore, the undercutting, the size, and the placement of the holes to make the most popular and successful English Romantic flutes ever produced.
The Rudall keywork is sturdy and elegant.  Here the touches for the low footjoint keys not only overlap (a split-key clutch), but the top touch, for C, is delicately hooked into the C sharp key.  This not only joins them when the C is played, but strengthens the lateral stability of the C shank.  The beautiful chamfered shoulders can also be seen here, and the first of the three metal-plug keys.
The Rudall keywork is sturdy and elegant. Here the touches for the low footjoint keys not only overlap (a split-key clutch), but the top touch, for C, is delicately hooked into the C sharp key. This not only joins them when the C is played, but strengthens the lateral stability of the C shank. The beautiful chamfered shoulders can also be seen here, and the first of the three metal-plug keys.
The right hand, or heartpiece, of the flute also shows the Rudall and Rose scale, characterized by the large F sharp hole in the middle.  Nicholson popularized even larger holes, especially here.  This large F sharp hole completely eliminates any cross fingering for F natural, forcing the player to learn how to use the keys, and making this flute a fully chromatic instrument.
The right hand, or heartpiece, of the flute also shows the Rudall and Rose scale, characterized by the large F sharp hole in the middle. Nicholson popularized even larger holes, especially here. This large F sharp hole completely eliminates any cross fingering for F natural, forcing the player to learn how to use the keys, and making this flute a fully chromatic instrument.
The full footjoint, with three plug-keys set into metal plates which are screwed to the flute body.  Every cut, key, and turn on this flute is perfectly executed.
The full footjoint, with three plug-keys set into metal plates which are screwed to the flute body. Every cut, key, and turn on this flute is perfectly executed.
The tuning slide is slightly open here, with another 20-plus mm available.  The crack shown here in the barrel is nothing to worry about and easily repaired, unlike the embouchure crack!
The tuning slide is slightly open here, with another 20-plus mm available. The crack shown here in the barrel is nothing to worry about and easily repaired, unlike the embouchure crack!