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Louis Lot



Stamp: On headjoint: L.L./LOUIS LOT/PARIS/5568/BREVET�. Same stamp on body, less number. Footjoint unstamped.

Marks: The unexplainable number "64" is stamped on the top of the silver cork holder, visible from the top of the headjoint with the cap removed, and on the footjoint, under the D# touch. This number is too short for a pawn shop number and too modern for a batch number, but at any event shows that the headjoint has been with this flute for some years.

Manufacture Date: Made in 1894 under Barat (Giannini).

Hallmarks: Hallmarked with Villette's mark and the boar's head of silver purity from Paris on the lipplate, the upper body ring, throughout the keys, and on the footjoint keys and bottom ring.

Comments: This flute shows all the casual elegance of a true Lot. We also know she has been through a lot, even though she is a Lot through and through. This is not a museum piece; rather, this is a player's instrument. More wear and tear will not insult this flute; indeed, after Paul Rabinov's excellent work she is poised for it. The tone is filled with the wonderful liquid smoothness of Lot. This flute is no novice, the only question is whether her experience and trials make for a rich and rewarding lifetime companion.

Material: Tube, lipplate, and keys of silver. Blue steel springs.

System: Model 5, Silver cylinder flute with C foot. B trill has been converted to Bb trill. Steel cork screw. No adjustment screws. Closed G#.

Condition: Completely overhauled by Paul Rabinov. Headjoint had been cut back too far, and a silver sleeve has been fitted in the socket by Paul Rabinov. Ring has been placed for playing at A=440. Nonetheless, the headjoint is contemporary with the body. The hole in the headjoint tube is a bit larger on the inside (the player's side) than the bottom of the chimney, probably from fitting a larger embouchure at an earlier date. The body is in surprisingly good shape, considering the usage this flute has had. Repairs include a conversion of the B trill key to Bb. Restoration work included resoldering the tone holes and refitting the Lot lipplate. Mysteries include the gap in the strap between the F keys, where Godfroy used to swing his upper trill key but Lot never ventured, and the shaping of the D# arm on the footjoint, as though a left-hand touch for the low C had been proposed but not included in the end.

Pitch: This flute was probably built to play at A=438 or so, but the headjoint has been cut and fitted to play at A=440.

Sounding Length: Sounding length 609 mm, as currently set.



Case: With worn Louis Lot case of the Marigaux-Strasser era.

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