I only make flutes that I measured and played myself except for the Berlin Naust. They also must have the mouth hole unchanged. I make two component silicone negatives of all holes and copy the mouth hole always as precisely as I can after the original (also for the Berlin Naust). For me this is all essential to make an eighteenth century playing traverso as good as I can.
Let me explain something about the way I work.
I recently had a discussion with a possible customer and he said that my colleague has a waiting list of a considerable time. One might conclude that my quality is less because I do not work with a long waiting list.
Basically I work to have a certain stock. I normally have a stock of between 40 and 50 flutes. This means that customers coming to my house or at an exhibition can try out flutes and take home the one liked best. This is something I like very much. For mail orders I do have a waiting list but never longer than eight weeks. I use it to organise my planning.
One has to make all of the flutes, so before hand as stock or afterward as waiting list with repect to the work needed does not make a difference. It is just a question of planning and philosophy. In the end they all have to have been made!
Of course if a maker chooses to make flutes on request it has my complete respect.
My Flutes
- Beukers 415, 408 (exchange joints)
- Tassi 392, 398, (separate flutes, not exchange joints!)
- Wijne 415
- Wijne 2 415
- Kirst 440, 430 (exchange joints)
- Kirst 415
- Palanca 415
- Haka 368
- Naust Berlin 405
- Naust Frankfurt 405
- Wijne 2 400, 413
Beukers
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
Tassi
original 400Hz. Probably mid eighteenth century.
remarks: I recalculated it to 392. There also is a 415 version. They are three different flutes, not just joints. For the reasons please go to Pitch. Flute for Rameau, C.P.E. Bach and more.original
Kirst 415
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.
remarks: as soon as you play Mozart on this flute it is home.
Palanca 415
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.
picture coming
Wijne
original: 413Hz mid eighteenth century
remarks: some love it some cannot play it!
Wijne 2
Original in 400 and 413. Now also in 415 available.
Haka
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.
Naust Frankfurt
original in a private collection in Frankfurt: 400Hz 1710-1725, probably made by Delerablee, or by Mrs. Naust. Naust was no longer living then.
remarks: fabulous, very rich instrument, it is a dream flute.
Naust Berlin
This is a copy of the Naust from the musical instrument museum in Berlin.
Frederique Chauvet Had a Beukers exactly like the one on the main page. Real Ivory rings figured boxwood. It was precious for her! BUT a few years ago after a concert somebody "BORROWED" this Beukers and it was never seen again. I made three of those only So if you know somebody who has one, please ask....If returned to me no questions will be asked.
