Some significant dates and developments

Some significant dates and developments

We know almost nothing about the actual playing characteristics of European flutes from before
1500. There are a number of written references to, and depictions of, transverse flutes in the 14th
century, but little mention of of them in the 15th. No instruments from these periods are known to
survive.

● 1529 — Agricola's fingering charts for keyless, cylindrical flutes.

We find the first written descriptions of how to play flutes from the 16th century. And there are a
number of surviving instruments from that period that can be studied, perhaps played to some extent,
and measured and copied.

The renaissance flute, the type of instrument used in Europe from roughly 1500 to 1650 or so, can be
admired for its sophisticated capabilities within a simple and basic form. The instrument has a narrow
cylindrical bore with only an embouchure (mouth hole) and six small tone holes. It uses a somewhat
different fingering system than that found on other six-hole flutes, which might otherwise appear to
be similar. See Renaissance flutes.

One does not hear much about the transverse flute in the 17th century until near the end.

● circa 1670 — One-key flute with conical bore appears; becomes popular first in France.
● circa 1720 — Four-part construction appears; other innovations and experiments; Bach
writes for the transverse flute.

The flute was dramatically remodeled in the late 17th century to make it more suitable for playing the
type of music that violins were playing. The new flute had a conical bore and one key for the little
finger of the right hand. It was very different from the renaissance flute; as different, say, as the
Boehm flute was from the simple system instruments of its time. See Baroque flutes.

● circa 1755 — Six-key flutes made in England.

● circa 1790 — Keyed flutes becoming more common, as innovations and experiments
continue; but popularity and use vary greatly from one country to another. (Mozart
d.1791)

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 Some significant dates and developments

● 1820s —
❍ Flutes extending to low G made in Vienna.

❍ Germany: 9-key flute with B-foot becoming common.

❍ England: 8-key flute with C-foot "standard", some with "large holes".

❍ France: 5-key flute with D-foot "standard".

(Beethoven d.1827; Schubert d.1828)

While the one-key flute continued to be used throughout the late 18th and entire 19th century, makers
began to add keys to some models, at first in England. The keys elimated the need for "forked
fingerings" and made the flute more even. Changes in the bore (whether keys were used or not)
produced brighter sounding flutes (particularly in Germany) and flutes with easier high notes
(particularly in France), while bore changes plus larger tone holes and the use of keys produced
louder flutes (particularly in England). These changes were evolutionary rather than dramatic or
revolutionary. See Classical flutes.

The 19th century was a time of great differences in national styles. See 19C keyed flutes, III.

● 1832 — Conical Boehm flute, wooden with ring-keys.

● 1847 — Cylindrical Boehm flute in metal.

Theobald Boehm's first commercial model had "scientifically placed" holes, as well as a
revolutionary new mechanism and fingering system. But it retained the conical bore and some of the
sound of the ordinary flute. A huge change occured later when Boehm applied his mechanism to a
cyclindrical tube with larger holes. See The Boehm flute and its development. A number of
professional players took up the Boehm flute in France, and the Boehm or another "modern flute" in
England. But the Boehm flute was not common or popular for many years in Germany and other
parts of Europe.

Experiments with the design of flutes and other instruments have always taken place, but these grew
exponentially in the 19th century. There were numerous experiments before Boehm, and many more
after his work. The primary goals of almost all of the innovators were flutes that were louder and
more even in tone; facility was also of great importance.

● circa 1837 — Conical Boehm flutes made in Paris; French make modifications.
● 1840s — Conical Boehm flutes made in London and New York; ongoing experiments
with mechanism and new designs or systems: e.g. Ward, Siccama, Briccialdi (London),
Tulou/Nonon (Paris), Pentenrieder (Munich).
● 1850s — London: Carte 1851, Clinton Equisonant, and Pratten's Perfected flutes;
cylindrical bore in use with a variety of systems.
● 1860 — Cylindrical Boehm flute (silver) adopted at Paris Conservatoire.
● circa 1870 — London: Carte 1867 system, Radcliff system; Italy: cylindrical Briccialdi
system.

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 Some significant dates and developments

The French took to the Boehm flute relatively early. The Germans mostly ignored it for several
decades. The English were impressed with the sound but some disliked the fingering and used
Boehm-influenced flutes incorporating some of the old fingering. See The Boehm flute and its
development. Many of the English "modern flutes" and "hybrid" systems are very clever and allow
great facilty. They eventually lost out to the Boehm flute in part because of the complexity of their
mechanism, not because of their sound. See Hybrid systems.

● 1870's — Major professional players in Paris, all the ones best known today, are using
Boehm flutes; in London, either Boehm flutes or "modern flutes".
● 1882 — After criticism by Wagner, Tillmetz switches from cylindrical Boehm to conical.
● 1885 — Simple system remains most common in Germany; the number of keys on
Viennese-style flutes can approach 20; Schwedler and Kruspe's (Leipzig) new flute
praised by Brahms.
● c 1900–1920 — Schwedler and Kruspe Reformflöte (1898) used in many German
orchestras; Boehm flutes found in a number of large orchestras, even some in Germany,
but ordinary flutes found in other orchestras, dance bands, homes, etc.
● c 1930 — Boehm flute may, finally, be considered "standard" for professional orchestral
players in England and Germany (wood preferred in these countries); ordinary and
reform flutes remain in use, primarily among amateurs.

Some 19th century German players and conductors did not like the sound of the Boehm flute; they
prefered the character and tonal flexibility of the conical bore (and many players did not want to
change fingering). Late in the 19th century, highly mechanized conical models were introduced that
were louder and more even, in order to compete with the Boehm flute. See Further development of
the simple system; Reform flutes.

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