Ah, yes. The slur over the accelerando is a phrasing slur, not meant
to be an absence of articulation (and perhaps unneccessary or
misplaced, as the phrase seems to naturally begin on the d# of beat
1). I really just wanted to remind myself that this descending section
stands as a reply to the ascending section before it.

And the portato marked in a few places is a difficult effect on the
flute. Sort of like a legato slur where each note recieves about 7/8
of its value and a very light articulation.

I am almost of the opinion that the c''' b'' c''' in measure 7 need to
be articulated also... it's cleaner given the number of fingers moving
at once.

It's still a work in progress. The more I really start looking at the
partita (the Allemande in particular) the more I realize the
challenges inherent in its interpretation. I also marvel at the
phrasing possibilities in the Sarabande, especially on the first
repeat toward the end of the A section where there is little or no
rhythmic variation to indicate it.

Listening to others interpret this piece has been of interest also.
From Preston's pure, restrained, technical display to Kuijken's
colorful, freer, and highly accented one (the only one of his I have).

Thanks Jed, traverso is hard work, and every little bit of insight helps.

Michael.


--- In earlyflute@yahoogroups.com, "jed wentz" <jedwentz@...> wrote:
>
> Hi Michael,
>
> I have looked at your file with interest. I was a bit surprised to
see you
> slurring as you accerate just before the repeat...is that what you
meant to
> indicate, or is the slur indicative of something else?
>
> You are quite right to say that we really don't know how it would have
> sounded in Bach's day. However, I do not see anything unequivocally
> "Romantic' in your markings. Speeding up and slowing down "like a good
> orator" was widely praised by writers (like Mattheson and Quantz) in the
> period, and every good orator chooses which words of his speech need
> emphasis, as you have shown with your tenuto markings and accents.
>
> Keep up the good work!
>
>
> Jed
>
>
>
> On Thu, Aug 7, 2008 at 11:19 PM, Michael <mcovel01@...> wrote:
>
> >   Hi all... It's been a lively discussion recently regarding original
> > flutes and their modern descendants. I wonder if it is analogous to
> > trying to deduce how a piece was originally played versus how we
> > interpret those same pieces today.
> >
> > Even with a knowledge of baroque performance technique, HIP, etc., we
> > are nonetheless musicians of our time. The sounds in our ears which
> > have become quite ubiquitous did not even exist during the time of the
> > original instruments and the music composed for them. We make subtle,
> > and sometimes not-so-subtle design changes to the instruments to suit
> > our needs, as we do with the pieces when we perform them.
> >
> > I submit a realization of how I have been approaching the Bach solo
> > flute partita BWV 1013. It certainly makes use of some techniques
> > 'purists' would refer to as romantic. But how can we be sure, with all
> > the deliberate latitude in Baroque performance practice, that it was
> > not played thus in Bach's time?
> >
> > Keep in mind that the articulation and tempo markings are more subtle
> > than they would be in modern music... more for color than outright
> > effect. I've tried to use the Baroque meanings for things like
> > 'andante' and 'portato', and I have used the tenuto markings to
> > indicate 'full note value with a slight stress on the beat.'
> >
> > In any case, it's a work in progress, and any ideas, suggestions, or
> > alternatives are appreciated.
> >
> > <a
href="http://mcovel01.googlepages.com/BWV_1013.pdf">BWV_1013.pdf</a>
> >
> >
> >
>

Dear Colin and the Gang,

Well, we may have reached critical mass, at least as an NFA presence,
although we still get second tier treatment from time to time. In
both 2002 and 2007 Jed had to suffer with substandard harpsichord
players. And the instrument we had to use last summer exploded in the
middle of my performance so that I had a ten minute intermission
between movements 2 and 3, but that's another story. Last month my
Pacific northwest neighbor and friend Janet See asked if I had a
modern edition of Blavet's op. 2 because the so-called harpsichordist
for this week's NFA convention didn't read figures (how can a
harpsichordist not read figures and be called a harpsichordist??).

There is hope, however. The current Chair of the Historical Flutes
Committee, Linda Pereksta, has been in the face of the NFA Powers
That Be lately and seems to be making some headway, at least as far
as getting real harpsichord operators for the annual convention. And
a new committee member with a lot of energy, Wendell Dobbs, is a
strong advocate for keyed flutes as an NFA presence. Linda replaces
someone who, after getting shot down by the NFA on a couple of things
became a hunk of inert, dead wood (me).

So, things are getting better, slowly.

How about calling it the Early Flute Players Alliance? The EFPA
acronym has a slightly better ring to it than EFPU. It might take a
bit of work to organize a symposium, never mind a convention.

As Barbara mentioned, the outreach is happening at the local level.
There seem to be more and more early flute sympathizers around the
country at the college level (the younger generation of modern flute
professors). And I keep encountering young players who list either
Colin, Lee Lattimore, or Barbara, among others, as one of their main
flute teachers.

I thought there was already some sort of early flute symposium, at
which Drs. Lasocki and Powell have presented. But I'm not 40 any more
and my memory is, well, a distant memory.

At the very least, how about a summer event in, say, upstate New
York, sort of an early flute Woodstock? The main expense would be to
hire Colin to cater the event.


kp

--- In earlyflute@yahoogroups.com, Colin Saint-Martin
<traversomon@...> wrote:
>
> Dear Kim, Jed, et al,
>
> The recent NFA convention does indeed sound like it was an amazing
series of programs by wonderful
> players!  Though I must acknowledge the NFA's occasional support
(tolerance???)
> of early flute performance, have we as early flute players achieved
critical mass such that we could form our own "sister"organization
albeit MUCH smaller?  I would imagine that one of the main points of
an early flute player being involved with the NFA is the possibility
of exposing, without wanting to seem patronizing, the uninitiated
among the membership?  Short of actually creating an organization, it
would be interesting at some point to have an international symposium
dedicated to the early flute combining players, makers,
musicologists, and organologists.  I'm sure the idea for this has
existed for a while and I apologize in advance to those who've
already worked towards it.  Thanks for reading my curmudgeonly
missive!
>
> Regards,
> Colin
>
>
>
>
______________________________________________________________________
_______
> Envoyez avec Yahoo! Mail. Une boite mail plus intelligente
http://mail.yahoo.fr
>

Agreed, James.

I try to take this piece 'andante', which is not so much a tempo
indication as it is a character of 'moving easily forward.' There are
many opportunities to add color to the piece, shading dark and light
alternately, though I agree this should be done with subtlety and
should never become tempestuous.

With regard to where to breathe, I personally think that one
particular point has been hammered to death. Breath should coincide
with phrasing, so the harder thing is "how do I phrase this?"

The underlying harmony provides many good clues, as does Quantz'
advice to breathe after the first strong note on the beat. That said,
there are obvious places where this is a challenge, such as the
descending chromatic passages which need to be not only one breath,
but two phrases in one breath. Then one can breathe just before the
end, and relax at a little caesura before the repeat.

Or alternately the phrases which imitate each other (m5,6 7,8), and if
one is disturbed by a breath and another isn't, they begin to get
asymmetrical.

Measures 9, 10, and 11 easily fit into this ternary imitation where a
breathing after the first sixteenth in m9 and m11 preserves the idea.
It's alot to consider.

Interesting you mention the solo violin sonatas and partitas. I have
transcribed several movements from these for flute and play them daily.

I will check out the gm sonata presto, and thanks so much.


--- In earlyflute@yahoogroups.com, "James Bolger" <gymsterus@...> wrote:
>
> Michael> This movement is probably one of the most played and
> unfortunately misunderstood.  So many play, in my opinion, much too
fast and
> far too choleric. (as in angry, NOT in the baroque sense of
"active")  This
> is a broken chord study.  So I always advise to figure out the
harmony and
> write the roman numerals underneath the suggested chordal structure
BEFORE
> any articulation marks are added.
>
> When playing this movement I try to think of myself as a "plucked
string"
> instrument playing lightly with a relatively strict tempo.  As you
probably
> have realized the HARDEST thing about this piece is "where do I
breath!?"
> Since we are NOT violinists this can create some difficulties.  I
suggest
> you seek out the other solo partitas and violin sonatas.  The presto
from
> the g minor solo sonata  is a perfect comparison piece.  (hint:
transpose
> this piece to d  minor to play on the baroque flute)
>
>
> Hope this helps?
> Best,
> james e bolger
>
>
>
>
> On 8/8/08, Michael <mcovel01@...> wrote:
> >
> >   Ah, yes. The slur over the accelerando is a phrasing slur, not meant
> > to be an absence of articulation (and perhaps unneccessary or
> > misplaced, as the phrase seems to naturally begin on the d# of beat
> > 1). I really just wanted to remind myself that this descending section
> > stands as a reply to the ascending section before it.
> >
> > And the portato marked in a few places is a difficult effect on the
> > flute. Sort of like a legato slur where each note recieves about 7/8
> > of its value and a very light articulation.
> >
> > I am almost of the opinion that the c''' b'' c''' in measure 7 need to
> > be articulated also... it's cleaner given the number of fingers moving
> > at once.
> >
> > It's still a work in progress. The more I really start looking at the
> > partita (the Allemande in particular) the more I realize the
> > challenges inherent in its interpretation. I also marvel at the
> > phrasing possibilities in the Sarabande, especially on the first
> > repeat toward the end of the A section where there is little or no
> > rhythmic variation to indicate it.
> >
> > Listening to others interpret this piece has been of interest also.
> > From Preston's pure, restrained, technical display to Kuijken's
> > colorful, freer, and highly accented one (the only one of his I have).
> >
> > Thanks Jed, traverso is hard work, and every little bit of insight
helps.
> >
> > Michael.
> >
> > --- In earlyflute@yahoogroups.com <earlyflute%40yahoogroups.com>, "jed
> > wentz" <jedwentz@> wrote:
> > >
> > > Hi Michael,
> > >
> > > I have looked at your file with interest. I was a bit surprised to
> > see you
> > > slurring as you accerate just before the repeat...is that what you
> > meant to
> > > indicate, or is the slur indicative of something else?
> > >
> > > You are quite right to say that we really don't know how it
would have
> > > sounded in Bach's day. However, I do not see anything unequivocally
> > > "Romantic' in your markings. Speeding up and slowing down "like
a good
> > > orator" was widely praised by writers (like Mattheson and
Quantz) in the
> > > period, and every good orator chooses which words of his speech need
> > > emphasis, as you have shown with your tenuto markings and accents.
> > >
> > > Keep up the good work!
> > >
> > >
> > > Jed
> > >
> > >
> > >
> > > On Thu, Aug 7, 2008 at 11:19 PM, Michael <mcovel01@> wrote:
> > >
> > > > Hi all... It's been a lively discussion recently regarding
original
> > > > flutes and their modern descendants. I wonder if it is
analogous to
> > > > trying to deduce how a piece was originally played versus how we
> > > > interpret those same pieces today.
> > > >
> > > > Even with a knowledge of baroque performance technique, HIP,
etc., we
> > > > are nonetheless musicians of our time. The sounds in our ears
which
> > > > have become quite ubiquitous did not even exist during the
time of the
> > > > original instruments and the music composed for them. We make
subtle,
> > > > and sometimes not-so-subtle design changes to the instruments
to suit
> > > > our needs, as we do with the pieces when we perform them.
> > > >
> > > > I submit a realization of how I have been approaching the Bach
solo
> > > > flute partita BWV 1013. It certainly makes use of some techniques
> > > > 'purists' would refer to as romantic. But how can we be sure,
with all
> > > > the deliberate latitude in Baroque performance practice, that
it was
> > > > not played thus in Bach's time?
> > > >
> > > > Keep in mind that the articulation and tempo markings are more
subtle
> > > > than they would be in modern music... more for color than outright
> > > > effect. I've tried to use the Baroque meanings for things like
> > > > 'andante' and 'portato', and I have used the tenuto markings to
> > > > indicate 'full note value with a slight stress on the beat.'
> > > >
> > > > In any case, it's a work in progress, and any ideas,
suggestions, or
> > > > alternatives are appreciated.
> > > >
> > > > <a
> > href="http://mcovel01.googlepages.com/BWV_1013.pdf">BWV_1013.pdf</a>
> > > >
> > > >
> > > >
> > >
> >
> >
> >
>

The term "German flute" seems to have remained in use, in English
language sources, into the 20th century -- to mean transverse flute.
But it was certainly not a fashionable or common term.
Anyway, this is from the Encylopedia Britannica of 1910:

    The Transverse Flute or German Flute ... includes the
    concert flute known both as flute in C and flute in D, the
    piccolo or ocatve flute ... and the fife....

I don't know if German flute is being used here as a historical term,
as an intensifier, or as a synonym.  The term is not used again in the
article on the flute.

--Rick Wilson
http://www.oldflutes.com


----- Original Message -----
From: Malcolm Tattersall
[deletions]
By the early nineteenth century there was hardly ever any need to say either
'common'
(because it wasn't around) or 'German' (because there was no other).
So the changes after 1800 - additional keys and then Boehm - were not the
reason that
'German flute' dropped out of use, nor was 'German flute' associated with a
particular
design feature.
The term seems to have remained in use primarily as an intensifier - "you
know, the
*flute* flute, the one we are used to!" - into the nineteenth century. I
think that
interpretation of the late examples you [Terry] provide makes good sense.
Given the way tutor books were simply reprinted for decades, I'm not
prepared to guess at
a last appearance of the term!  [deletions]

The spring on my Folkers & Powell Bressan 3 joint flute has given out
due to metal fatique. Guess I shouldn't have played so early in the
morning... It was a strong T shaped flat hammered brass spring; the
fatique occurred at the juncture of the 'cross'. I'm near Ventura
California, work at UCLA, so anywhere between Santa Barbara and L.A.
would be fine. Anyone know of a good repair person? I could send it
off, just checking locally, so any non-local recommendation is of
course welcome. I've never thought about this before, for a repair to
the spring would I send the entire flute or just the foot? Thanks for
any help! Paul

Rod, Thank you very much, It's a trip to the drug store for a
temporary fix (thanks for the reminder (#5) to get a refill) and an
email later to F and P.. I used a rubberband my newspaper is
delivered with this morning, but once around was too loose and twice
around too strong... It worked but my little finger is tired. I'm
sure the drugstore will have a size selection. As an aside, I am well
stocked with files and wire. I fix antique clocks for a hobby and I'm
forever picking up stray pieces of brass and wire. I just know that
sooner or later I will need a piece of whatever just like that. And
every drawer in the house has a file or two and the odd clock bit
rattling around. It's odd how I don't mind tearing down a clock into
dozens of bits and forming (forming: clockmaker term for bending) and
fashioning a replacement part out of a suitable scrap, but I'm
reluctant to try to make a spring for a flute...  it's not like there
isn't a 5 lb. box of spring wire and sheet brass under the bed. Come
to think of it, the NAWCC offers 'Suitcase Repair Classes' for
members. Perhaps the newly forming "Guild" should follow suit.
Regards and thanks again, Paul
ves trouble,  when the key slot squeezes in too narrow due

>
> Every serious pro player should carry a  kit for emergencies which
> might include:
>
> 1) A small flat needle file, to thin the key-stem, and relieve
> sticking, due to friction.
>
> 2) Some of those rubber bands,  when the spring fatigues.
>
> 3) A paper clip which can be unfolded and used as a key hinge pin,
> for use when the real pin falls out and gets lost.
>
> 4) When your headjoint cracks in the middle of the allegro, simple
> ask anyone in the audience, preferably a woman, to step up and
lend
> you some lipstick, which you will smear into the crack and play
on,
> to thunderous applause.
>
> 5) Finally, some Valium to calm you down afterwards, while on your
> way to the nearest repair shop.
>
> just kiddin' about no 5!
>
> It is better to have F and P fix the spring, as they will know
best
> how to replace it. Only go to another source when they are not
> available.
>
> best!
>
> Rod
>
> On Aug 9, 2008, at 8:16 AM, pjbjr wrote:
>
> > The spring on my Folkers & Powell Bressan 3 joint flute has given
out
> > due to metal fatique. Guess I shouldn't have played so early in
the
> > morning... It was a strong T shaped flat hammered brass spring;
the
> > fatique occurred at the juncture of the 'cross'.

At 08:16 AM 8/9/2008, pjbjr wrote:
>The spring on my Folkers & Powell Bressan 3 joint flute has given
>out due to metal fatigue...Anyone know of a good repair person?

Hi Paul,

F&P were extremely gracious when I too broke the spring of your flute
before selling it to you, and they repaired it very quickly. I hope I
mentioned at some point that the key is unlike the keys on all other
Baroque flutes I've played in that it is meant to be pressed just a
little, which provides all the venting that's needed. Fully
depressing the key, with its very stiff spring, is clearly more than
the spring is designed to take.

A question for the flute-makers on the list: are there other early
Baroque flutes whose keys work like this? My sense is that the stiff
spring was intended to give the player control over just how much the
key is open, which could allow some interesting acoustic effects.
This could be similar to what recorder players do when shading the
holes of instruments with single holes.

Best,

Mitchell Gass

Rod, yes, you have described it exactly right. It is a T shaped
spring, the short top crossbar imbedded in the slot cut in the
molding for the key to pass through. Strong spring. Paul
--- In earlyflute@yahoogroups.com, rod cameron <rcameron@...> wrote:
>
> I have not tried this flute, but from your description, that is
what
> I would call a "hardening spring"
>
> By that, I mean a spring force that increases with deflection.
Most
> springs can be set to vary very little from closed to fully open.
If
> indeed it is the type of spring that is imbedded in the footjoint,
> and acts as a bending beam sticking up in the air and rubbing
against
> the underside of the key touch piece, then that is the type that
that
> is inclined to be a "hardening spring"?
>
>
> Roderick Cameron
> PO Box 438
> 10580 Williams Street
> Mendocino,
> CA 95460,  USA
> Telelphone:
> studio 707 937 0412
> Home 707 937 9921
> cell:    707 813 7593
>
>
>
>
> On Aug 9, 2008, at 3:58 PM, Mitchell Gass wrote:
>
> > At 08:16 AM 8/9/2008, pjbjr wrote:
> > >The spring on my Folkers & Powell Bressan 3 joint flute has given
> > >out due to metal fatigue...Anyone know of a good repair person?
> >
> > Hi Paul,
> >
> > F&P were extremely gracious when I too broke the spring of your
flute
> > before selling it to you, and they repaired it very quickly. I
hope I
> > mentioned at some point that the key is unlike the keys on all
other
> > Baroque flutes I've played in that it is meant to be pressed just
a
> > little, which provides all the venting that's needed. Fully
> > depressing the key, with its very stiff spring, is clearly more
than
> > the spring is designed to take.
> >
> > A question for the flute-makers on the list: are there other early
> > Baroque flutes whose keys work like this? My sense is that the
stiff
> > spring was intended to give the player control over just how much
the
> > key is open, which could allow some interesting acoustic effects.
> > This could be similar to what recorder players do when shading the
> > holes of instruments with single holes.
> >
> > Best,
> >
> > Mitchell Gass
> >
> >
> >
>

Another temporary repair you could try is to slip a shorter spring
under the remnants of the old one. Once under tension this should
work. I've done this on 19th c flutes and it works quite well

Dear all,

Just back from NFA and holiday, so maybe I did not read all of the copy
discussion
sufficiently.  However, from what I read I missed the question I am posing here.

I dont even mean has the original been tampered with.

A good original may have been played much. Therefore the wood has been wet and
dry
maybe 5000 times. I remember the Paris Hottetere having a bore about .5 mm
narrower
behind the cork.
We all know that a tiny change in the mouth hole may change the flute
considerably. This
amount of wet and dry might well change the mouth hole.
I am also thinking about mouth hole edge erosion.  Bart Kuijken once told me a
flute he
played 20 years had erosion of the mouth hole edge he found very noticeable.

So are we sometimes copying worn flutes?? Maybe even some of the properties
religiously attributed to originals (dynamics? attack??) are due to this??

I must confess that I am a bit afraid of this discussion as everybody may
understand.

Simon

Hi,

I'm a recorder and baroque flute player.

Yesterday I tried to polish the lip mark  around (and probably inside)
the embouchure area with raw linseed oil.

My first impression is that the sound is dramatically worsen...

I play the flutes but I still don't understand if the oiling procedure
better or worsen the sound...


I know that in this list I can found the help of the best baroque
flute players and makers.

How can I save the area around the lip ?
How can I polish the boxwood aesthetically ?
How can improve the sound by oiling (boxwood yes/not hard wood yes/not)

Thank you so much for your help in a so old question!!

Francesco

A question for Rod : as a recorder player I know I
that I must never get oil in the windway or on the
labium of my recorder . But on a flute .... is it
vital to keep oil out of the embouchure hole , or
should I oil it when I oil the bore ?

Possibly a different topic - my von Huene flute has
some type of black finish ( paint ?? ) on the wall of
the embouchure hole - is this to protect the wood from
moisture or is it an aesthetic thing ? Do original
early flutes have this feature ? Do other modern
makers do the same as von Huene ?

Best wishes,
Robert Hillier

Thanks everyone for all your suggestions and help! Paul
--- In earlyflute@yahoogroups.com, "pjbjr" <pjbjr@...> wrote:
>
>  The spring on my Folkers & Powell Bressan 3 joint flute has given
out
> due to metal fatique. Guess I shouldn't have played so early in the
> morning... It was a strong T shaped flat hammered brass spring; the
> fatique occurred at the juncture of the 'cross'. I'm near Ventura
> California, work at UCLA, so anywhere between Santa Barbara and L.A.
> would be fine. Anyone know of a good repair person? I could send it
> off, just checking locally, so any non-local recommendation is of
> course welcome. I've never thought about this before, for a repair to
> the spring would I send the entire flute or just the foot? Thanks for
> any help! Paul
>

Robert ,
If I may.
We don't like oiling the works(labium, block, and windway) of recorders
as it to easily gums up the tight tolerances. My experience
has shown me as a maker of recorders that those parts can
  be oiled but must be cleaned of any residue immediately afterward.
A soft non drying oil as used in the bore is easily swabbed out
after treatment on flutes , not so with all the small crevices of a recorder.
Residue oil on the surface attracts dust and dirt as well as has
the potential of going rancid.
The Von Huena finish you speak of is a hair dye treatment to
match the ebonized oil varnished box flutes of earlier days.
It has the potential to offer some protection, but very little as
  the wear indicated from playing is on the unfinished edge
and internal undercutting.

Does anytone have information about the tunes in "Riley's Melodies"?
They seem to be some America tunes in there, mixed in with English and
European tunes. Has there ever been a study or an article written on
that collection?

Any information would be much appreciated!

Laura Thompson, New York

Der friends,

I follow frequently with interest your commentaries in this web. I dare
to write to ask an aspect on my new Denner flute. To two days of having
it (having respected the times to play) there is more light the zone of
the moutpiece. Like I was losing the varnish. I suppose that it must be
normal but I want to ask you if I can do something more than oiling the
flute often. (I hav'nt see this proces in my Grenser and in my
Hotteterre flutes)

Many many thanks!

Jordi
from Barcelona

--


Oh yes !!
  I had a boxwood flute very stained  around the embouchure hole...in
one case it was due to the nitric acid staining reacting with the
basic content of the mouth...

How can we save this area without affecting the sound ?

Thank you

Francesco



- In earlyflute@yahoogroups.com, "prosodion" <prosodion@...> wrote:
>
> Der friends,
>
> I follow frequently with interest your commentaries in this web. I dare
> to write to ask an aspect on my new Denner flute. To two days of having
> it (having respected the times to play) there is more light the zone of
> the moutpiece. Like I was losing the varnish. I suppose that it must be
> normal but I want to ask you if I can do something more than oiling the
> flute often. (I hav'nt see this proces in my Grenser and in my
> Hotteterre flutes)
>
> Many many thanks!
>
> Jordi
> from Barcelona
>

Hi Susan, It is actually an Amadeus/Winterthur series. Been around
for years. I thought Only librarians cared about series; to
publishers series are a sport; they like to stop, start, number, un-
number, mispell and just plain old change the title as it keeps
libraries on their toes trying to figure out just what in heck they
ordered.

Here you go:
010  n  83723081
040  DLC ǂb eng ǂc DLC ǂd DLC
130 0Camera flauto Amadeus
642  Nr. 22-23 ǂ5 DLC
643  Winterthur, Schweiz ǂb Amadeus
644  f ǂ5 DLC
645  t ǂ5 DLC
646  s ǂ5 DLC
670  Barsanti, F. Sechs Sonaten für Altblockflöte oder
Querflöte und
Basso continuo op. 1, 1982: ǂb t.p.

Regards, Paul

Jim, I ran into this youtube of the Assisi flute the other day and
found it interesting. I thought others might also have an interest.
http://www.youtube.com/watch?v=OKQLIgTOsuM
Paul
--- In earlyflute@yahoogroups.com, James Roland Harris
<jimrharris@...> wrote:
>
> Hi Paul,
>
> As you may already know, a number of makers copy the Graz ebony
> Hotteterre -- Alain Weemaels, Folkers & Powell, Rod Cameron.
Filadelfio
> Puglisi makes a boxwood copy of the "Assisi" three-piece flute,
although
> as far as I know, he will only make it if you can visit him in
Florence
> and pick up the flute personally, owing to the possibility of the
> boxwood suffering damage or warping in the shipping process.   But
check
> with him at <www.renaissanceflute.com>, and say Hi from me.
>
> Best,
> Jim
>
>
>
>
> pjbjr wrote:
> >
> > I agree. I very much enjoy those recordings too. Does anyone know
if
> > other copies of the flute of the flute played on that recordinga
are
> >
>