I grew up playing an ancient and beautiful Chappell piano, which my parents still own. Now, I realise that Siccama flutes were under the Chappell brand. There’s a couple on the market, and I was thinking of hooking into that history, and also playing it.
Big holes, mathemetically ‘better’ acoustics, but without all the extra doodads of Clinton 1867 flutes. Third and sixth toneholes have keys, but the others are normal(ish). No sliding on the keyed notes, but…
Anyone ever played an original Siccama or a reproduction? Are they fun?
i have a Siccama 8 key Eb flute, great player.
i don’t have a problem with reach, but, it’s a great way for someone with smaller hands to play a big flute.
eilam.
I picked up one in splendid condition this summer. It plays great with a wonderful tone. It’s playability is improved by an excellent new head Chris Wilkes had made for my Pratten’s Perfected. The heads are interchangable which shouldn’t be a surprise given the history of the brands.
The additional keys took me only a few minutes to get used to.
On a general side note, I found that any of the old flutes are greatly improved if fitted with a high quality custom made modern head, as it can improve tuning as well.
I played one for several months as my main flute. Good wack off it, but I never fully came to terms with the keys though as regards ornaments and once I realized that I was not likely to any time soon, I got rid of it sharpish. Particularly the G hole which I use to ornament a lot - never could get the cuts (particularly) and taps as sharp as I wanted. Depends one what you want out of the flute I suppose. If it is to be your primary flute and you are looking to play Irish trad at a very high level with very fast complex ornaments (finger vibrato, fluttering, cranning, full rolls in place of short rolls and particularly building ornaments on top of each other, etc. etc.) I would stear clear. If you want a strong sounding flute that you are not that bothered about finger speed on to play non Irish music or slow not super ornamented Irish music or just occasional playing for a change, mine certainly sounded good and I enjoyed playing it and it was beautiful, so why not?
Yes, I definitely agree Dave, the one I had had a really solid and vibrant tone all the way down to the foot keys as you say. That was what got me to get it in the first place and give it a try, I was won over by its power and timbre both. But what do you think about the ornamentation issue. especially if it was to be your main flute. I don’t know what you play at all or what sort of music, though I know you’ve a fine collection of flutes, would you play the Siccama regularly in preference to a good Prattenish model?
I did “force” myself to play a Siccama regularly at session a few years ago. It’s not a bad thing. I didn’t mind the action of the keys at all and found I could do quite a bit by merely tightening the action so it’s quicker. What I didn’t like, and this is my own issue, not the flute’s issue, is the “clicking/thumping” I got from the two keys as I got aggressive.
Frank Claudy adores the the noise, pointing out how fun it can be and that’s true. And for pure tone/power, Siccama’s are top-rate.
But, alas you can’t “bend” a note with the two keys.
I think that’s where I jumped off…but I still use my Siccama (and will be on upcoming recording) for airs. Dynamite sound.
Indeed, Dave. Christopher Welch, in defending Siccama from Rockstro’s attacks, comments:
“Whatever can be said against the diatonic flute, it is unquestionable that in its finish and workmanship the highest degree of excellence was reached, and that its tone was of surpassing beauty; indeed, Siccama, when preluding on it, used to elicit notes which exceeded in purity and sweetness any sounds I have ever heard issue from a musical instrument.”
Thanks, guys. I’m leaning towards the Hudson model, as the ring-keys on the others would remind me of clarinet. I’d end up playing an octave and a fifth away from where I wanted.
The next step is in the hands of the treasury board…
indeed, Terry
Doesn’t Mr. Welch make clear in his book that he has a Siccama flute made for him (or presented to him) by Mr. Siccama himself?
Let’s not also forget that the two foremost players of the day – Pratten and Richardson – were Siccama performers. While Pratten spun off his own design (with John Hudson and later to Boosey), Richardson continued to perform on the Siccama (though the move toward other flutes was already in full swing so his time was doomed).
Siccama, a Dutchman, was a fascinating and incredibly smart individual. A linguist himself, his son – a Navy man – was a surgeon. I have a feeling that it was Siccama – or perhaps Hudson? – who coined the sales term “Pratten’s Perfected” which was brilliant.
But who knows.
Siccama flutes indeed have many many secrets in them!
