C mtnbutor<;

/11
,~I

thiS iss~e ...
Gyula Czeloth-Csetenyi
contributed the interview with Harry van Ekert which forms the basis of the feature The Goldsmiths Flute. He studied at the Bartok Conservatory and the Liszt Ferenc Academy of Music. After the demolition of the Iron Curtain. Gyula studied with [ochen Gartner at the Richard Strauss Conservatory in Munich where he recorded the compositions of Gamal Abdel-Rahim. From 1990 101999
jr~' ~"er contributed our featu re article on forgotten Romantic repertoire, Lost ROmilll(,'. Andrew holds a PhD in Composition and his works have been performed as far afield as Mexico, USA, Russia and Israel and by eminent ensembles and performers including the BBC Symphony Orchestra, Latin American String Quartet, Tinda Hirst, Grant Llewellyn. and 1I1artin Brabbins- He is a Visiting Tutor at Birlllingham Comerl'clt,'ir~. He holds a pert,'rmance dll'lonhl <111d ,~'e(i,'l1ses In (onteml'l)rary tlutc techniqut'S as well as 19th Century and Britlsh '::Oth Century rept'rtolrc; he elba pl,lp as one halt' of the Blkhner DULl. Gyula was the editor of the Journal of the Hungarian Flute Association. In addition to his classical repertoire he

~et our feature contributors for March
e

on n~uroplasticlty in

~iall Q'Riordan writes this month Rewire your Brain

and contributed our Opinion piece on TheArtIs! as Hero. Niall studied with ["lin Grantat the Cork School of l,{uII"aswcll as with Robert Winn, Anders.LungarChapel on and Sir James (;alway. ;-Jlall enJoys a varied career rL'ff<nmwg, teaching, and writing. Reten! rnasterclass engagements Include Lisa rriend Summer School the In londun and Wllli~m Bennett'. ,ummer School In 2Dl1. Niall was a 'lsltmg lecturer at Lund University

plays in and composes for a jazz band with leading jazz musicians Istvan Fekete, Janos Lutz and Bela Ferge. Gyula teaches and performs across Europe and in Japan.

,weden in Z01J9. Niall pracuces

yoga

and mcdltatlun. He leads applied Flute Yoga w"rkshop~across Europe. I Ie is now Irainlng as a certified Fcldcnkrais mel hod Ie -u ncr. , IlIS h 0 Iiistic approach uhc .• . "rdWS rn,p I' f W" k: Ira ron rom yog .., voice r . and vI;udlisalion.

21

he Goldsrnit's
by Elisabeth Hobbs and any flute enthusiast will know, flute making has enjoyed something of a renaissance in recent decades. Today there are many fine craftspeople making flutes of exceptional quality all around the world, experimenting with scale lengths, materials, mechani ms, and other refinements as they work .ea toward an id 1 combiination of factors in th , earch for the ulti te i e In thi highly mdsoudndand playability.
real perfectio nlsm and or" . w e space a , ' th work of . lginalitv is needed f a particular mak er to stand apart. or
th~lr ~I)pr~ntllc~hi ,.

U

Ancient Japanese metalwor~ meets 21 st century technolog~
Gyula Czeloth-Csete nrl'
and finishing. "We felt that th e time . was right to set up our own b . 20 6" usmes in 0, says Harry, "We knew thaI w~ ~ad to make something utterly ongmal and unique to gain a share m a market that is already crowded Wlth high quality products, I had been bUll experimenting with a new matenal [ called Mokumeum©, and this insp'!(\] Cilia to believe that we could prOdU(f new flute sound - something dilfere~t to the sound we have all become accustomed to. Cilia believed thene~ material could give the special tjuJl:~ that we were seeking,"

e

e;(pef1J11' \Cver~tl y of silver and ther and heat bet\l/een as if we : then dn layered flat-roll

begin tc comes i

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~hcywent 10 wInk p~ In Schollnhoven, I revllr I 1111 ,1\ J'S15lanls to
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d,l"ikd e~ ~xal'lly this kind dlly "111.1 ('ill lr,111"l1Jl1shi)" 1.'n\"~1 III Iw .lwnlh·1. U Will C]' ~. ']
lilt illIJ
I I yl\ll t· rcvor IIwd]., il s, ol'h)rc 1 . 1,,\ .,11111 1 IlIl~hll1 wh . llllvmg on hl'1I\\,0Yl'''I~ CIC IheY1LIined

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Eloy Flutes

"H.lrr I r., ]>\ill ,11 mrs . ,~r' the re~on,llKe 01 a h hJI't' on . ." t . 'I,d (rom It. Harry • ·,'Il,lrm • ,.r!I' . I J \1'llh the process tor tn I t''<'r,t11 'j' workin<>with t un pales r.l, rm. 0 ,~, . nd gold "Iterllatdy stacked ,!llerJ " nWlllded under pressure rJi"en" . , I "This forms atomIC bonds a.,d"ea. ecnla)'m which arc not the same bet" .. H "I II .·"oldered them, says arry . •litn drrll coneshaped holes into the I,.IT<.J material with a special tool and fl, ·roilihe;heets until different layers beginn appear and a distinct surface t "",eI intobeing.This is what gives ~Humeum its unique appearance."
:l

y

Il,pl)l1t.l

I -r ",h,ll .. dred .. the

lllet.1lhr:ldnlln.lle

ly~es that lam currently using that 1 feel there IS much more research to be done in this area. 1 am very keen to discover the results of other metal combinations." Because Mokurneum produces a Hat plate, the body of an Eloy flute has to be formed into a tubular shape and soldered. This method of seamed construction harks back to the methods of the great 19th century flute maker, Louis Lot, whose instruments are so esteemed today for their tone quality. Today. only a very few flute makers produce flutes with a seamed construction - the method is techn ically challenging and requires a great deal of practice. Harry learnt this craft from Mike Allen, another goldsmilhlflutemaker who worked with Trevor James. "TIle exciting thing," says Harry, "is the effect that the soldered tube has on the sound. These tubes have to be drawn again several times after soldering. When MokumeUlll is used in the tube, the gold and silver exist beside each other. It is not an alloy - you can actually see both the metals, and although they are united they keep their respective densities. The combination of the soldered tube and the uruque maleri<lllllak<'s our
ln~lrunH:nls rc~onate
WllY,u

Soiderin .. tf1f' mechanism ~

ergonomic. angled configuration. Eloy uses only l4k white gold springs to ensure an evenly balanced response. and Straubinger pads, which do not absorb moisture and therefore remain completely consistent in their shape.

in

J.

very Sp~(i:J1

and unique