18th century style piccolo bound for Brazil

rod

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They are quirky little instruments to make well, tolerances are much tighter than on their big sisters... flutes. They have to play well, especially screeching out the upper register in an orchestra and be heard in the peanut gallery, yet also have to have warmth for some of Vivaldi's compositions, like this concerto (largo only):

http://www.youtube.com/watch?v=PyJ4zI7VH2g

I worked in the style of an 18th century Paris made original that I had access to some years ago. With the sockets so thin and tiny, it is practical to make the rings from silver, as this gives good strength, resisting a crack, if the tenon gets too tight by neglect.

Key is in neo-classical style, silver with 24 k gilded flare cut.

Please excuse the state of my hands, I am a manual worker....

Rod
 

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GTJC460

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Outstanding!!! I think the flare cut style and the scroll design you created is very harmonious with the overall style of the instrument. It's always a pleasure to see your creations.
 

Roger Bleile

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Another masterwork!

How many musical instruments have you made Rod and when did you begin your instrument making career?

Cheers,
Roger
 

rod

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Thanks, Roger, and Fred,

Maybe tomorrow, I might try "pen plating" gold onto those silver rings, and polish the gold off the top of the ornamental turnings on the rings, leaving just a tad of the gold in the valleys, to inflect towards the gilded key. That would be one application where pen plating makes sense, because the rings are glued onto the wood, and I would not want to put wood and silver into the gold acid solution, it would surely contaminate it.

I used to put serial numbers on my instruments, but gave up after 500, so must estimate my flutes at close to two thousand. Before flutes, I made recorders for a while. The windway of a recorder is very complicated to make, and exacting to voice correctly. A good challenge, but to tell you the truth, I am fond of the sound of the early flute with its earthy tones.

Brazil has been keeping me busy, usually some Brazilian musician is visiting the States, and can bring the flutes safely back to customers. I took a chance and mailed one, two weeks ago, to Manaus on the Amazon river. Customs have it, and are working out the duty. I wish they would cut starving musicians some slack, and allow them to get an instrument from abroad, it would not bring the Brazilian economy to its knees? I will cross my fingers and hope for a musically inclined Customs officer with some simpatico.

Meanwhile, a flute I made last week for Japan sailed through to the new owner within a couple of days, and he just wrote to say he likes it. On my bench are baroque flutes for players in London, Cremona, Italy, and yet another for Brazil.

News from Scotland came in yesterday, England's fine player of baroque flute, Rachel Brown, wrote to tell me that Scots fiddler, Alasdair Fraser, with his cellist, Natalie Haas, flew to London to join Rachel and the Handel Players for an 18th century style concert, which featured Scots and celtic themes mixed in with their usual repertoire. They then all went up to Aberdeen to do the programme in Scotland, and it went down very well. Rachel played her Scherer flute, which I made her in my Scottish workshop about 15 years ago. She told me I had a number of Aberdeen friends in the audience, so that was nice. I got pictures of the musicians rehearsing in the lovely old church, which serves as a performance space. They were all wrapped up in down jackets, coats, and some had mittens... it was freezing cold, and the church/ hall was not to be heated till concert time!

I never get out of this wee town of Mendocino, yet somehow news drifts in to me...

See you in Reno!

Rod
 
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Sam

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What a beauty, Rod! I love the soft glow of its polish and graceful shape. And your engraving is the frosting on the cake. It's not at all surprising that you're shipping these musical delights worldwide.

Keep us posted on the pen plating!
 

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