Rudall carte flute dating
This is all to say that the information below does not represent the last word on the respective topics. Why are adjustment screws absent from most "high-end" instruments? I can't say enough about having a great head joint...).
I bought it for ,000 and put 0 in repairwork (I can also recommend a fantastic repairman!
Both as a performer and as a respected teacher of his chosen instrument, he helped to ensure that the style and traditions of French flute playing - broadly speaking, the international style of today - will be heard and observed well beyond the dawn of a new millennium.
The "French School" of flute playing is characterised by an elegance of sound enlivened, where appropriate, by the use of an expressive vibrato.
Its origins lie in the playing and teaching of Paul Taffanel and Philippe Gaubert at the Conservatoire in Paris during the early part of this century.
Their mantle was inherited by the great Marcel Moyse, whose playing and teaching influenced many of today's foremost flautists, including the virtuoso James Galway.
(He had learnt that recording companies were refusing to record English players.) Many soon followed his example.
(1781-1871) welcomed Boehms new designs and became a partner in the firm around 1850.
He was taught by Harry Seeley, a renowned flute-maker and former worker at the Rudall Carte flute-making company.At the 'Guild' he built piccolos, alto flutes, and concert flutes in sterling silver and 14K gold.It was here that he was also introduced to the woods used in flute-making - wooden flutes being a substantial part of the Guild's output.This web page lists instruments identified in publications and documents as belonging to the museum collection of Boosey & Co and Boosey & Hawkes. (Unpublished typescript, Langwill Archive, Edinburgh University Collection of Historic Musical Instruments). (Duplicated typescript, Morley-Pegge Archive, Bate Collection Oxford 7/14/3, also Edinburgh University Collection of Historic Musical Instruments 1924R).The publications and documents include loan exhibition catalogues, object labels, inventories and the published catalogue of the Collection (Baines, 1972). Bradley Strauchen and Arnold Myers, " A Manufacturer's Museum: The Collection of Boosey & Hawkes", published in Musique-Images-Instruments: Revue Française d'Organologie et d'Iconographie Musicale N. Before 1974 no systematic record was kept of items entering or leaving the collection, at least in any form that has survived. Thus the only concordances that can be made positively are of unique items and instrument with serial numbers. Some of the collection was on display at the Tower of London according to L. Langwill, Queries and suggestions: Boosey & Hawkes museum catalogue - according to a typescript of same lent to Mr Langwill by Mr R. The Galpin Society, Private musicke: Royal Festival Hall exhibition, London, 17 Sept. This publication has not been refereed and the responsibility for its content rests solely with the authors.