original: three joints 415Hz, 408Hz and an unplayable one. I make the 415 and 408.
I think that the original is early eighteenth century, about 1735.
Remarks: Flute for everything first half eighteenth century in any case. For comments from players describing the playing quality: comments
original: 400Hz , probably mid eighteenth century, 1750
remarks: I recalculated it to 392. But they are two different flutes, not just joints. For the reasons please go to Pitch. Flute for Rameau, C.P.E. Bach and more.
This Kirst 415 is a copy of Christoph Huhtgeburth his original. AKAMUS players, also Christoph use my copies. The interesting aspect of this flute is the following. It probably is 1770 but the fundamental in each note and the bottom octave are nice and warm and resounding. So this still has a first half eighteenth century feel. But the third octave is also super easy. The flute is dynamically very flexible and easily very strong.
It is a traverso that is at the same time extremely powerful and beautifully flexible with respect to dynamics. I would say that it is as powerful as the traverso's nowadays acquired for this reason but it can played piano easily and beautifully as well!
Kirst 440, 430
original: 440Hz, 430Hz last quarter of the eighteenth century. This is a 440Hz. one keyed flute that really works excellently.
This is a close copy of the original. That implies that it is quite different from most Palanca based traverso on the market. Most have been adapted somewhat to suite modern taste a bit. I tried to copy the original closely. This Palanca copy plays as easily piano as it plays forte. The tone always stays nice and easy however softly you blow. Also the intonation is very easy. Even the f and fis are in tune by only thinking the note and without any turning of the head or the flute.
original: 413Hz mid eighteenth century
remarks: some love it some cannot play it!
Original in 400 and 413. Now also in 415 available.
original: 1670-1680. One of the two remaining in between renaissance and baroque flutes. Conical and a key but renaissance fingering.
remarks: my copy only wants to be as close as possible to the original. The original has a beautiful rich quality but the intonation is extremely difficult.
original: 400Hz 1720-1730, probably made by Delerablee, Naust was no longer living then.
remarks: fabulous, very rich instrument however, at present my attempts to make 415 give an excellent intonation but the fun of the 400 is completely lost. So I will stick to 400.
Rippert 392Hz and 400Hz (separate flutes)
This is a copy of the St Moritz Rippert. It took me a long time to find that there is some shrinkage in the original such that the low notes are difficult on it. Now that I corrected that this Rippert is super. Very open, very flexible very strong and very well in tune. Even the third octave functions well!
I am very grateful for Frederique Chauvet's help in developing my different models, and specially the Beukers. Without her absolutely encouraging criticism it may all have been different.
Further I am grateful for the comments every now and then made by Jed Wentz, Marion Moonen, Masahiro Arita, Liliko Maeda, Barbara Kallaur and of course Kate Clark.
I am also very pleased that Suzanne Wendler is checking most of my flutes as what I often call 'quality control'.