Cornelius
Ward - The Flute Explained
§ 10. SUMMARY AND CONCLUSION.
We shall conclude with a brief
recapitulation of the points of prominent importance, occurring in the preceding pages; and
with one or two remarks, which could
not with propriety have been introduced
elsewhere.
The radical error of the ordinary flute consists in its excessive
deviation from the true position of the apertures.
The supposed necessary adherence to the
established system of fingering, in connexion with the preceding, renders the old
flute absolutely incurable: the exhausted
ingenuity of half a century having fully shown that improvements in anyone
particular can only be attained at the expense
of some other.
The old flute, therefore, has never gained
the respect of the true musician:
being incorrigible, it never can; it will consequently from the invention of
a perfect substitute, speedily and inevitably
sink into disuse.
The Boehm flute is free from the first named
objection to the old flute. It is
perforated with tolerable accuracy; but here its merits end. It cannot
be used in
accordance with its apparent design.
It requires numerous closed holes,
cross-fingerings, alternating action, cramped
and unnatural application of the manual
powers, the frequent employment of harmonics, &c., &c.; with the necessary
results of unequal power, varying character,
and general inferiority in quality of tone.
Its fingering, also, is in the highest
degree immethodical, awkward, difficult
both to learn and to apply, and deficient in
many of the important requisites for
skilful and refined performance.
The New Patent Flute is perforated truly, and in accordance
with philosophical
principles, both as to its bore, and its
lateral apertures.
Its design, execution, and manipulation are
strictly co-relative; that is to say, its mechanism provides the
necessary means for reaping the full benefit of the
scientific arrangement of its apertures.
Its fingering is systematic, regular, easy,
and easily acquired. One hole is
opened for a semitone, two for a tone, in regular progression;
and
every hole below
that which determines a fundamental tone
remains open.
There are no cross-fingerings, no
alternating action, no contravention of the mechanics or anatomy of
the human hand.
This flute can be tuned with the most
perfect accuracy to any desired temperament. All its shakes, major
and minor, are in tune; and, as well as the turns, tremolos, glidings,
or other graces, are performed with an ease and accuracy and to an
extent hitherto unparalleled.
The necessity for varying, irregular action of the embouchure - that source of
endless study and labour - is entirely
abolished.
Its tone is powerful, brilliant, and mellow,
throughout the extent of its scales; is of equal character and power
under the application of equal action, and is produced with ease,
freedom, and certainty.
Theoretically it results, and practically it
has been most amply proved, that this flute presents facilities not
surpassed by any other instrument for the ready attainment of a
mastery in execution, expression, correct intonation, and all the
requisites for the artistic performance of music, in a much shorter
time than was required for the indifferent effects of the old
imperfect flute.
In the mechanical construction, the choice
of materials, and the style of workmanship, great attention has been
paid to ensure delicate, certain, and permanent action; elegant
appearance, lightness, freedom from liability to injury, and
durability.
It has none of the long, unsupported levers
or key-handles of the old flute; no wooden supports or projections, no
pins, no joints to work loose, to require wrapping, or to cause the
splitting of the socket. Its stopping is perfect, the motion of its
keys certain and noiseless, and it is furnished with a tuning head
of extraordinary accuracy and convenient application.
Any possible objections to the universal
introduction of this instrument, can only be of very temporary
prevalence.
The novelty of its fingering is only a
temporary inconvenience. The loss of attainments by practitioners on
the old flute is a temporary inconvenience; and any indecision as to
the claims of this and other flutes, we unhesitatingly class in the
same category, as of very temporary duration.
While, on the other hand, all the advantages
realised, are important, solid, and permanent.
In the preceding recapitulation, our
language may be considered strong and confident. But our strength lies
in facts; our confidence in our conviction of the truth; and our
justification, in the concurrent testimony of all who have
become acquainted with the instrument; including among such very
many of the first professors and amateurs, who are much better
judges, and certainly more disinterested advocates, than ourselves.
Independently of the obvious and admitted
merits of this invention; various collateral advantages have
supervened, which may have a very extensive influence on the future
employment of the flute. To instance but one. The closeness of the
finger-apertures in the patent flute is in itself, and directly, a
most remarkable advantage; giving immense facility for execution, as
well as great ease and perfection in the proper closing of the
apertures; but independently of this direct
result, a wide field is thereby opened out
for the facile and practical extension of
the flute scale downwards.
Considering the
extraordinary beauty and power attained in the lower notes of the
patent flute, it is not improbable that it may
hereafter be deemed expedient, for the
production of new orchestral effects, to
introduce flutes of lower pitch than those
hitherto employed. Now, the closeness
of the apertures in the patent flute, the
absence of joints, and the arrangement of
its mechanism, confer the power of
accomplishing this desideratum, to a most
extraordinary extent.
We mean to say, that henceforward, effective
flutes can be made of the pitch of
C, Bb or A, below the present flute, and
yet be perfectly within the easy command
of the fingers.
In a word, the above, and
other collateral advantages, form a most grateful and
unexpected, yet not unnatural reward, in return for the frank adoption and steady
adherence to correct principle; a result as
certain in flute making, as in any other
pursuit.
The sensation created by the first private
exhibition of the powers of this instrument, - the delight it has given and continues
to give in the numerous private
musical parties, and "concerts de société" in the
metropolis, - the excitement and
controversy it has originated among
manufacturers and the profession, - leading to
the tacit general condemnation of the old flute, - its adoption by many of the first-rate professors and
amateurs, - the large
number sold, be it observed, without
advertisement, - these form unmistakeable
proofs of its intrinsic excellence.
If further proof be wanting, it will shortly be
supplied by professors of great talent,
who are preparing for its public exhibition
in the season about to commence.
Indeed, we have never yet met with one
single disinterested objection to the
instrument. To the old manufacturers, and to
professors of hard-earned eminence,
a few lingering regrets and parting
struggles in favour of an old friend, may be
conceded. We can even tolerate their
"
Thankful glance of parting praise."
But to what, we ask, does such praise
amount? Why should they triumphantly
point to Nicholson, and other great masters,
except to give a well-deserved tribute
to their unconquerable industry and musical
talent. It proves nothing as to the flute. What they did, they did in
spite of its defects: and how they did it, what
toils they passed through, what incredible
extent of irksome practice they endured,
as a necessary introduction to even
moderate performance, were all unseen,
unknown, un-noted.
Had one small fraction of that time been
expended on a more worthy instrument, a much more musician-like result would
have been obtained, and the
remaining portion of that most valuable
commodity, time, would have been available for the general purposes of life, or
for achieving musical triumphs never
before anticipated from the flute. "Il Flauto
Magico," would have been no misnomer.
Do not let us be deemed speaking in the
language of hyperbole. We can point to several flutists, who, with four weeks
practice on our instrument, have acquired
a skill and proficiency, previously denied
to the untiring industry of forty years.
It has been our wish throughout this work to
speak "the truth, the whole truth,
and nothing but the truth;" and
whilst, in the fulfilment of this design, facts and
proceedings within the legitimate range of
our subject have been boldly and uncompromisingly called by their true
names, we hope it will be found, that in no case have we gone out of our
way, or introduced matter or observations irrelevant to the direct
purpose of our undertaking.
But it is time we should conclude.
Book-making is not indeed our forte so much as flute making; and we must
apologise for numerous literary faults which
we are conscious will be observed in the
course of this little work. We trust, however, we have fulfilled the
promise of the title page, and that our reader is to some extent in
possession of data for forming an opinion as to the merits of our
invention.
If, when his opinions are matured by recourse to other sources of
information, he should incline to test them practically, our
experience warrants our promising, that, when in the possession of the
New Patent Flute, he will be confirmed in the truth of our "explanation;" and we think will never find cause to regret having
"
Paid too dear for his whistle."
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