Introduction

The Irish Wooden Flute is a treasure that is maintained by a living tradition - those who carry it from generation to generation and guarantee its continuation. Orchestral and commercial enterprises long ago abandoned the connical bore, simple system wooded flute favored by Irish players.  This instrument leaves the metal, Boehm system flute in the dust in terms of tone quality, ease of play for agressive traditional tunes, and sheer beauty in appearance.  Then why did the metal flute, with its highly complex fingering system and inferiour cylindrical bore, take over?

 A simple system flute is not fully chromatic (only some sharps & flats)

  It is reputed to be unable to stay in tune along its playing range

 It is hard to produce in a factory at reasonable prices

The beauty of the music belies these prejudices.  Irish wooden flutes from quality makers are used in solo and ensembles everyday and leave the audiences captivated by its voice.  The complaints quoted above don't seem to come to anyone's mind during a spirited performance.  The Irish wooden flute is arguably the most human-like instrument and can be pardoned a few quirks and eccentricities.

Clementi is an influential maker from near the turn of the century (1800).  His style epitomizes the traditions of the late 1700's, which is long before metal flutes cast their shadow.  Clementi's favored style and design elements are carried on into even the present day!

 Cocus wood (Blackwood or Grenadilla; Genus: Brya Ebenus)

  The raised bead design on the end cap gives a delicate demeanor

 The use of ivory for ferrules and silver for keys adds an elegant look

Flutes associated with names like Nicholson, Boosey, Pratten, John Mitchell Rose, Willis Fecit, George Rudall, and others honor the same roots from the 1700's as Clementi.

Rose is held in high esteem for his quality work and exceptional productivity.

 Note the delicate ivory end detail

  Ivory Ferrules

 Block mounted silver keys

Rose later produced flutes with George Rydall.

This flute appears to be a little different from the mode of the typical flutes shown here and may be either a custom order or an experimental model.

 Seemingly 1/2 inch is cut off from the barrel joint to sharpen the pitch

  The mix of salt spoon keys with "pewter plug over square plate"

 Uncommon ivory ring lining inside of embouchure

Boxwood is one of the warmest tone woods for woodwinds, but it is far less stable than cocus.  Some argue that lining the head joint with metal detracts from a wooden flute's warmer tone.

This flute can't make up it's mind as to what kind of style it wants to play:

 The fine ivory details are gone

  It has an extra B-flat section

 The emboucher is surrounded by a silver ferrule

There likely won't be many makers today longin' to copy this model exactly.

This flute is well at home in the Irish style.  It has shed some of the elegant touches of the past, such as extensive use of ivory and the sole use of saltspoon keys, but it has no shortage of class.

 End cap and decorative bead done in same wood as body

  Tuning sleeve to allow one to play agreeably with others

 An decent number of keys to provide some more accidentals

Flutes very similar to this type are still made today - by highly skilled makers working by hand - in small shops. 

After the Boehm system became dominant, the Irish wooden flute was pushed farther and farther to the periphery.  Here you see that influence (is Rose rolling in his grave?)

 Cylindrical bore instead of the more stable conical bore

  Post mounted keys

 Metal lined head

The Rudall Carte & Co. was fully entrenched in the Boehm Metal flute "craze" by the turn of the century.