I bought this in hopes to learn some Vivaldi flute concertos on it, but never really got around to that. It’s a really nifty baroque flute made by Moeck in Germany. It’s a copy of a G.A. Rottenburgh flute, only this one is made to be played at a440. The flute is blackwood with imitation ivory rings, and one square nickel silver Eb key. It’s quite a nice player and it is possible to cross finger every single note. I would like to get $900 for it. These flutes went for $1,350 new, and from what I can gather on Moeck’s site, they are no longer making historical wind instruments, just their recorders.
I have long been fascinated by her “Flûte d’enfant”. This is a Baroque Flute pitched in the key of F, so that it is much smaller and can be fingered by small young hands. I would love to try it one day!
Just thought I’ld offer a bit of background on the flute.
Since nobody else has bitten on this, I will give it a (roundabout) go. I haven’t played this particular flute, but I do own a couple of Rottenburgh-style flutes. That’s a bit deceptive, because my first appears to be an I. H. Rottenburgh (this one by Patrick Olwell), ol’ G. A’s papa. I liked this one so much that, after about a year and a half on Peter Noy’s waiting list, I asked Peter to change my Grenser order to a Rottenburgh. Not knowing that the Olwell was by pere and the Noy (I’d asked for A440 and A415) was by fils. I’m pretty sure the Olwell was by the elder because the scale length is nearly an inch longer than the Noy, meaning the bore is very much narrower.
So, the Rottenburgh is a neat instrument. It’s very different from both the elder Rottenburgh and the Grenser, which is a contemporary. My current Grenser is a Cameron, and it’s a little easier to coax volume from (I had a von Huene Grenser, and that had a much more veiled sound). The (Noy) Rottenburgh requires more discipline to get a good sound from. It’s much less forgiving of an unfocused embouchure or too much air flow. When I hit the sweet spot, though, the sound really is sweet, I think much sweeter than from my other high-end baroque flutes. It takes a little effort, though.
Thank you. So, what happens when one plays irish tunes on these? I appreciate these
aren’t going to be session instrument, still, how do they do? Or are the
JUST for Vivaldi and co? How about jazz? Or whatever.
Irish tunes will sound kind of dainty. I’ve been known to knock out a jig or reel, but for the most part stick to O’Carolan, Playford, etc. Patrick Olwell can get a pretty big sound out of one of these, but I sure can’t. But then I don’t want to, I want to get the sound out of them that’s intended to come out of them – pure, sweet, warm. If you want to hear one played by a very good amateur, have a listen here: http://www.jkassen.org/loadpage2.php?pageid=64 .
