Ribas' Improved by Scott

Irish Flute
1

Not sure if this particular Ribas Improved flute has come up before, but it’s pretty stunning:

http://ribas.musicos.googlepages.com/flautaribas’simprovedbyscott

If you click on an image you’ll get to see it in great detail.

There’s some stuff about Ribas at:

http://www.mcgee-flutes.com/Ribas.htm

Not much known about the Scotts. Robert flourished London c1826 to 1845, first working for Card, then listed from 1840 to 46 as a maker. In 1845 he went blind, handing over to his son John Robert who continued to 1859, and then worked for Rudall Carte till 1899.

Terry

2

My brother was named Scott. Does that help?

Casey

3

Offset R1?

4

No.

5

Janey Mackers, what a flute. If it sounded half as good as it looks, well, you’d have something there.

Rob

p.s. Is it a coincidence that Ribas’ wife’s maiden name was “Scott?”

6

Stunning looker! Like Rob, I’d love to hear how it plays!

I wonder if there’s any connection to the following tale?

The last couple of times I saw the late Paul Davis, he was playing for his own use what he said was the best flute he’d ever found for ITM. It was (and I am now trying to remember from two short encounters with it about 12 years ago and more) he said of Portuguese manufacture, but I don’t remember if it had a name to it. It was very substantial to the eye, a normal 8-key I think, but Paul said it had a wider bore than most C19th flutes. It was very ornately carved all over - I don’t recall the design, but the effect was similar to that carved ivory R&R David Migoya heads some of the pages of his Catalogue website with. This flute was probably blackwood or ebony, or very dark cocus if it was cocus. I really don’t remember if the silver work was engraved or the key-cups were ornate like Terry’s Ribas example, but I think it had a lip-plate. As I say, only vague memories - does anyone else who knew Paul recall it or know what became of it? It was an absolute sound-cannon even when I had a go on it, let alone when Paul blasted it. It stuck in my mind for being 1) Portuguese (unusual), 2) carved and 3) big, brash and loud!

7

Interesting, Jem. Paul must have moved substantially upmarket in his later years. When I knew him in 1974, living in digs off the Portobello Rd, he was driving a Rudall & Rose, stripped of most of the keys, which he affectionately termed “The Monster”. Looked ghastly, sounded wonderful.

Well spotted, Rob. I am advised by António Ribas, also of Porto, Portugul:

“I have notice that Ribas won a prize in the 1851 London Exposition with a
Ribas model made by Scott. He came to Portugal in 1852 with Miss Scott,
daughter of the Flutemaker.”

Terry

8

Do the finger holes’ silver inlays have a function beyond the aesthetic?

By the way, I very much like the term “output end.”

9

Possibly, for those that were allergic to Cocuswood, but I think also to reduce wear.

10

besides being wicked cool, they also help when sliding your fingers off the holes to do glissandi.