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Find great deals on eBay for rudall carte and rudall carte flute. Shop with confidence. A Rudall & Rose—or a Rudall, Rose & Carte—Boehm flute. There were three fingerings for. It is perhaps unfortunate that the Carte flute returns to.

The early logbooks of the Rudall (Rose, Carte, & Co.) company are lost, making exact dating of flutes made before 1869 somewhat speculative. Robert Bigio sheds much light on the company in his Rudall, Rose, & Carte but does not suggest specific dates for many early instruments. The following lists provide reasonable estimates for dating these flutes.

Dates, Names, & Addresses

Metal Cylindrical Flutes

Metal flutes with serial numbers use a letter code for the number, based on the word MUSICTRADE, where M=1, U=2, S=3, and so forth.

Flutes built before about 1855 do not have numbers, though some pre-1855 flutes that later passed through the company for resale were given serial numbers at that time.

The phrase “Council and Prize Medals” is included on Carte 1851 model flutes made after about 1852 (flutes of the 100 New Bond period and beyond). Boehm and Rockstro models are not given this marking. Some 1867 models have this marking.

Flutes with large foot holes appear around 1863 in response to the very large foot holes offered by Clinton in the 1862 London Exhibition. Flutes with all large holes appear about the same time and were marked 'Rockstro's Model' from 1864 on (according to Rockstro). Early examples of flutes marked 'Rockstro's Model' may not have serial numbers (see, for example, Bigio p. 180, left side).

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Points of Reference

• Serial numbers do not appear before mid-1854 as shown by a flute without serial number in an original case dated June 19, 1854 (Bigio p. 221). The first gold flute was made in 1856 and a gold flute number I.E. (40) is mentioned in Bigio p. 3 which may be the first, or nearly the first, gold flute. If so, then serial numbers started no later than 1855, the year of the Paris Exhibition.


• M.E.T. (106) is in an original case dated Feb. 12, 1863.


• C.E.C. (505) was made in late 1868 (Bigio p. 249).

Estimated metal flute serial numbers (beginning of each year):

1855: 1 (M.)
1856: 13 (M.S.)
1857: 25 (U.C.)
1858: 38 (S.A.)
1859: 51 (C.M.)
1860: 64 (T.I.)
1861: 77 (R.R.)
1862: 90 (D.E.)
1863: 103 (M.E.S.)
1864: 181 (M.A.M.)
1865: 259 (U.C.D.)
1866: 337 (S.S.R.)
1867: 415 (I.M.C.)
1868: 493 (I.D.S.)
1869: 531 (C.S.M.)

Assuming production levels were roughly the same before and after 1855 (13/year), then approximately 90 additional cylindrical flutes without serial numbers were built between late 1847 and the end of 1854. Pre-1862 production levels were, then, roughly equivalent to that of Boehm, who produced 155 flutes by mid-1862.

After 1862, metal flute production increased to about 78/year through 1867, declining to 38/year in the early 1870’s, 28/year in the late 1870’s, and 14/year in the mid-1880’s.

Wood Cylindrical Flutes

Cylindrical wood flutes continue the same sequence of Arabic numerals that started with conical Boehm flutes. Almost no cylindrical wood flutes were made before 1862. Carte system conical wood flutes were numbered in a separate series starting c. 1851.

Points of Reference

• No. 274 conical Boehm appears to be a Rockstro design, from c. 1854 (Bigio p. 192; see also no. 271, DCM 0438).


• No. 377 uses an unusual G# design, introduced by Louis Lot in 1860. Rudall flutes based on Lot and Godfroy designs generally appear a year to two after their French counterparts, so a date of 1862 is plausible.


• No. 411, old system, has all large holes and is marked 'Rockstro’s Model', so must date from 1864 or after (per Rockstro). The mechanism appears to be an early example of this model, perhaps from 1864 or 1865.


• Robert Bigio lists no. 356 for the beginning of 1869 but the logbook for that year includes a full listing of all stock on hand (including used flutes), so no. 477 of 1870 provides a more accurate guide for dating.

Serial Numbers Rolex

Estimated conical Boehm and cylindrical wood flute serial numbers
(beginning of each year):

1854: 274
1855: 286
1856: 299
1857: 312
1858: 325
1859: 338
1860: 351
1861: 364
1862: 377
1863: 389
1864: 402
1865: 415
1866: 427
1867: 440
1868: 452
1869: 465
1870: 477

The production rate of somewhat less than 13/year in the period before 1870 increased to 24/year in the early 1870’s, 50/year in the late 1870, and 98/year in the mid-1880’s; roughly doubling every five years.

Combined wood and metal cylindrical flute production was roughly 13/year from 1855 to 1862 (almost all of these silver), 91/year from 1862 to 1868, 62/year in the early 1870’s, 78/year in the late 1870’s, and 112/year in the mid-1880’s.

Rudall, Carte & Co. catalog, September, 1922

The venerable firm of Rudall, Carte & Co. began as Rudall & Rose (1821–1852), became Rudall Rose Carte & Co. (1852–1871), and operated as Rudall, Carte & Co. past 1950. They offered a wide variety of flutes from the beginning, and were instrumental in manufacturing and promoting the Boehm flute and other cylindrical flutes in England.

Thanks to Joe Moir for providing a copy of this catalog. Scanned images of pages 1 and 4 through 8 may be found below. Pages 2 and 3 consist of 'General Remarks', which are of great interest, and these Remarks are reproduced as text below the thumbnails.

Rudall, Carte's offerings consist primarily of what they term Modern Flutes, by which they mean cylindrical bore flutes with 'parabolic' head joints. This includes: 'old system' flutes, Radcliff's Model, Guard's Model, Boehm's system, Rockstro's Model, Carte 1867 patent flutes. The 'old system' modern flute (almost an oxymoron) had 'some traces of the inherent defects of the old Flute' since the holes could not be put in 'their absolutely correct positions'. They also offer, on the very last page, 'Concert Flutes', including conical 8-key flutes.

Click on the thumbnails, or
click here to return to the Flute Catalog Excerpts index.

GENERAL REMARKS

Pages 2 and 3 of Rudall, Carte's List of Concert Flutes and Piccolos, from September, 1922

SOME explanation about the Flutes manufactured by Messrs. Rudall, Carte & Co., Ltd., may be useful to those who have no opportunity of seeing and examining them together.

There are two classes of Flutes; those with, the Conical, and those with the Cylindrical Bore. Up to the year 1847 all Flutes were made with the Conical Bore, excepting the Fife, which has now gone out of use.

In the Conical Flutes the head or top joint into which the performer blows has a cylindrical bore, and in the body and foot joints the bore becomes gradually smaller towards the end of the instrument. In the Cylindrical Flutes, on the contrary, the body and foot on which the keys are, are cylindrical, and the head joint tapers towards the top. The cone, in this case, is not a straight taper, but is slightly curved, forming a section of a parabolic curve. In the Conical Flutes there were many different bores employed, some large, some small, and varying in numberless particulars. It was from the manufacture of their Eight-Keyed Flutes that Messrs. Rudall & Rose, the predecessors of the present firm, first became celebrated as Flute Makers. The Old Conical Flute was distinguished for its sweet tone combined with considerable power, and it was a remarkably popular instrument in England. At the present day, when we compare it with those now used, it is difficult to account for the enthusiasm which it formerly inspired. Among the serious defects in it we may refer to the fact that the six holes covered by the first, second and third fingers of each hand had to be placed where they could be reached conveniently, and that, in consequence, their correct size and position had to be sacrificed, with the necessary results of incorrect tuning, and inequality in the tone of the different notes. The absence of a proper hole for C natural, too, necessitated the use of an artificial note, i.e. a C sharp made to sound flat by placing some of the fingers on the lower boles. The muffled note thus produced was a remnant of the old one- keyed German Flute, on which many of the notes were produced in this faulty way. The notes again, were not properly vented; the necessity of having the hole below the one giving the sound open, in order to make the tone free, not being then recognised.

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The Fifes formerly used in the Army were made with a Cylindrical Bore throughout. It was found that larger Flutes could not be made in this way, and the Fife itself, years ago, gave place to small conical Flutes and Piccolos. It is curious that the Fife, which gave way to these conical small Flutes, should have contained in it the germ of that bore which eventually was to carry all before it. The modern Flute, as has before been stated, is a cylinder with a parabolic head-joint.

With the Cylindrical bore, which was patented by this firm in 1847 for England and France, and is now in universal use, were introduced other improvements of vast importance. Great efforts had been made immediately before this to remove some of the glaring defects of the instrument. Attempts had been made to facilitate the fingering, and, above all, to get the holes in their true places. It was only with the Cylinder, however, that the modern ideas were really developed and established, and that the great principle was realised that the holes must be put in their really correct positions first, and the means of covering them must be found afterwards.

The primary cause of the great success of the modem Flute is, that in consequence of the holes being in their theoretically correct positions, the tuning is, practically speaking, perfect, and the notes equal in quality and volume. With this happy union of theory and practice have been joined the singular beauty and variety of tone of the Cylinder bore, and the great faculties offered by the new systems of fingering. Combining, as it does, all these advantages, it cannot be a matter of surprise that the modem form of the instrument should have taken such a firm hold of the whole of the Flute-playing world.

The Cylindrical Flutes are made with several systems of fingering, but with the exception of that on the Old System, which retains to a certain extent some of the defects of the old flute, the tone and tuning in all of them may be considered equally perfect. One of the peculiarities of this bore is the ease with which the sound is produced; in this it contrasts very favourably with the Old Conical Flute, on which much skill was always requisite to produce at all a soft tone which was up to pitch, and was not feeble. The different systems of fingering are described under their separate headings.

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The bodies of the Flutes are chiefly made of Silver, Wood, Ebonite or Gold. Which material is selected is purely a matter of taste, for each has its peculiar qualities. The Cylindrical Flutes were first made of silver, the tone of which is sweet and delicate. Flutes of this material have to be played with a looser lip than either those of the Wood or Ebonite, and this has led some to think them better suited to people who do not play much than those made of the two latter materials, as a firm lip is only to be kept up by practice. Cocus and Blackwood, owing to their durability and fitness generally for the purpose, have caused them to be very much used in the manufacture of Flutes, Clarinets and other instruments. The tone which it produces is rich and powerful, combined with a rounded quality so thoroughly characteristic of the Flute. Ebonite, a preparation of india-rubber, which has been used for some years in the manufacture of Flutes, is in some respects very similar to the Cocuswood. It has more resistance than Silver, but hardly so much as Cocus or Blackwood. The tone seems to have a slightly softened character, quite peculiar to the material. Ebonite never cracks in any climate. Gold, as a material for Flutes, has several distinctive peculiarities, which are very important. The tone is delicate, liquid and sympathetic in a high degree, and this goes hand in hand with much more resistance and greater richness than is found in Silver. Its remarkable qualities are due to the great density of the metal, to the closeness of each other of the particles which constitute it; this undoubtedly greatly influences the vibration.

There have been several theories put forward on the subject of the size of the holes, but it is now generally recognised by the Musical Profession, as the result of practical experience, that they should not be too large. One idea was that, as by opening a hole the tube is, practically speaking, temporarily cut off at that point, the hole should be made as large as possible, so as to produce the effect of cutting off thoroughly. Experience has shown, however, that this is undesirable, as the tone becomes wild and unmanageable. Another theory was that the instrument was in effect a set of open diapason Pandean Pipes combined in one tube, and that the holes should therefore become smaller the nearer they are to the embouchure. It was lost sight of, however, that as the bore remained the same, the Pandean Pipe theory must fall to the ground. It would be necessary to have a separate Flute, with a different bore for each note, to carry it out.

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When these Flutes were first introduced they were made with what are called the small holes; since then, the large and medium sizes have been introduced. When the medium holes are used, it is found desirable to increase the size of the three lowest holes, but in order to preserve the balance they are not made too large. The late Mr. Clinton carried the size of these holes to an extreme, but they have not become popular. Practical experience must, after all, be the sure guide in these matters, and this has undoubtedly shown that, though the increase made in the size of the holes was a great stride in Flute-making, it does not do to carry it too far; there may, perhaps, be a gain of loudness close at hand, but there is, undoubtedly, a loss of quality and carrying power.

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