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have catalogued 28 extant editions of Devienne’s

mention of the keyed flute.

method. See Thomas Boehm, “Commentary on the

See Ardal Powell, The Flute (New Haven and

Present Edition,” in François Devienne’s “Nouvelle

London: Yale University Press, 2002), 111-26 and

Robert Bigio, “Robert Willoughby: Ameri-

Méthode, ” 31-72.

Powell, Introduction to The Keyed Flute by Johann

can grandmaster of the flute,” flute: The

Jean-Louis Tulou, Méthode de flûte progressive et

George Tromlitz (Oxford: Clarendon Press, 1996), 31-36.

raisonnée adoptée par la comité d’ e nseignement du Con-

The above summary is based on the following two

Journal of the British Flute Society 29/4

servatoire (Mainz, 1835; later edition, Paris: Brandus,

documents: Règlement propose pour le Conservatoire

(December 2010): 23-27.

1851). According to Powell, Tulou’s treatise was adopted

de musique par le commissaire chargé de son organiza-

as the Conservatoire’s official text in ca. 1845. See

tion, adopté par le directoire exécutif, le 15 messidor an

________, “Rudall, Rose & Carte: The art

Ardal Powell, The Flute (New Haven and London: Yale

IV (3 July 1796) and Organisation du Conservatoire de

University Press, 2002), 132. Tula Giannini, however,

Musique, germinal an VIII (March 1800) in Pierre, Le

of the flute in Britain, ” The Flutist Quarterly

estimates the date as 1842; see her Great Flute Makers of

Conservatoire national de musique et de déclamation,

XXXV/4 (Summer 2010): 18-22.

France: The Lot & Godfroy Families 1650-1900 (London:

223-30.

Tony Bingham, 1993), 130.

For a discussion of these methods, see Emmanel

Rachel Brown, “Private Passion: The Quantz

François Devienne, Nouvelle Méthode Théorique

Hondré, “Les méthodes officielles du Conservatoire, ”

et Pratique Pour la Flute (Paris: Imbault, [1794]), 1.

In Le Conservatoire de musique de Paris: Regards sur

Sonatas for Frederick the Great, ” The Flutist

une institution et son histoire, edited by Emmanuel

Devienne also acknowledges the existence of “so-called

Quarterly XXXVI/1 (Fall 2010): 14–18.

English flutes” with footjoints descending to C and

Hondré (Paris: Association du bureau des étudiants du

C-sharp, but he rejects these low notes as being against

CNSMDP, 1995), 73-107.

John Wion, “John Radcliff and the Antipo-

the nature of the instrument, inconsistent, and ruinous

Included following the title page of Hugot-

to the rest of the scale.

Wunderlich’s method, the “Arrêtes relatifs a l’adoption

des, ” flute: The Journal of the British Flute

Hugot and Wunderlich, 3. In this same article, the

d’une méthode de flûte” note that the tutor was reviewed

Society 29/3 (September 2010): 27-32.

authors also acknowledge the existence of the Quantz

by a committee of Gossec, Ozi, Domnich, Catel, X.

flute with separate keys for D-sharp and E-flat, but reject

Lefevre, Sallantin and Wunderlich, presented at the

Andrew Woolley, “Vivaldi’s newly-discov-

it “because this key complicates the mechanism of the

general assembly of Conservatoire members, and finally

instrument for an unappreciable gain. ” It seems clear

approved by Conservatoire president Bernard Sarrette

ered flute concerto: ‘Il Gran Mogol’ , ” flute:

that Devienne himself was specifically targeted as an

on 21 germinal an 12 (10 April 1804).

The Journal of the British Flute Society 29/4

objector to the keyed flute in the above passage. Wun-

Hugot and Wunderlich, i-v. In describing the

(December 2010): 29-3.

derlich discusses both the advantages of the keys and

four-keyed flute I have chosen to use the modern

Devienne specifically in his later treatise, the Principes

nomenclature here. Hugot and Wunderlich consistently

Elémentaires et Gradués Pour la Flûte (Paris, Benoist,

refer to this instrument as the “flûte à trois petites clefs”:

Book:

c.1812), p. 1, where he again notes of the additional keys,

if one counts the “standard” Eb/D# key, the total number

“This ingenious mechanism, which eliminates many

of keys is four.

Ludwig Böhm, Commemorative Writing on

of the defects associated with this instrument, is a new

Tula Giannini has suggested that the four-keyed

advantage which will surely prove its worth (qui doit

flute in the Hugot-Wunderlich fingering charts resem-

the occasion of Theobald Böhm’s 200

Birth-

nécessairement fixer son sort) and guarantee its stability. ”

bles those made by the Godfroy workshop, employing

day. Theobald-Böhm-Archiv, Munich, 2010.

In a particularly poignant footnote, he adds, “In regard

pillar and plate mounts. However, Ardal Powell argues

to the little keys, I can not ignore the observations of my

instead that these illustrations “show mounts on saddles

old friend and colleague Devienne who, in disapprov-

that probably anchor brackets, not posts. ” See Tula

Event:

ing of them, nevertheless acknowledges their role in

Giannini, Great Flute Makers of France, 80; Powell, The

the adagio; surely he would not have held these beliefs

Flute, 316.

The 2011 Barthold Kuijken Indianapolis

had he examined the simplicity of this mechanism

more closely and familiarized himself with its utility in

Masterclass will take place March 23rd,

RAVERSO has a Facebook page, which

the fastest of pieces. I like to think that he would have

Meridian Music Recital Hall, Carmel, IN

serves as a message board and dis-

been convinced that the complexity which struck him

46032; (317) 575-9588. Questions and

at first glance was unfounded. But is not such a minor

cussion forum for its readers. It is an

applications should be directed to: Leela

mistake excusable from such a distinguished artist, who

open group, so anyone with a Facebook

mastered the flute and the bassoon at the highest level,

Breithaupt, , 1202

account (which is free) may join.

(www.

and whose genius enriched the musical repertoire of

E. Maxwell Lane, Bloomington, IN 4740.

wind instruments with numerous well-loved works?

The art of music experienced a significant loss when

php?gid=102685731474)

this estimable artist was taken away at the prime of his

brilliant career by a premature death, which leaves his

Over the years, the newsletter has fallen

friends and all who knew him with profound regrets.

behind in its publication schedule, which

The special fondness I held for him leads me to take this

occasion to pay a just tribute to his memory. ”

acounts for the discrepancy between the

Several other treatises were printed in France

masthead date and the events reported

in the ten years between those by Devienne (ca. 1794)

herein. We are making progress in catching

and Hugot-Wunderlich (1804). These include Joseph

up, and sincerely appreciate your patience

Marie Cambini, Méthode pour la Flûte (Paris: Gaveaux,

ca. 1795-97; it is unclear if a copy listed in Grove and

as we continue to work to get on schedule.

RISM as published in Paris by Naderman et Lobry in

TRAVERSO

1799 is a second edition or an error), Armand Van-

rticles and news items, including post-

Editor: Linda Pereksta

derhagen, Nouvelle méthode de flûte (Paris: Pleyel, ca.

ings about summer courses, may be

1798), Mathieu Peraut, Méthode pour la Flûte (Paris: The

author, ca. 1800), V. [François Louis] Michel, Nouvelle

submitted to traverso.editor@baroqueflute.

Subscriptions:

méthode de flûte (Paris: Le Duc, 1802), and [H.] Trézy,

com.

PO Box 148, HIllsdale NY 12529, USA

Doigter de la Flute (n.d., n.p., [ca. 1802]). None makes

Page 4

Hugot Wunderlich S Methode Page 4

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