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Laser-quality reproductions available for US$35 each, mailing included.

Available at 75 Principale, Frelighsburg, P. Quebec, Canada, J0J1C0. (450) 298-5161.

Email : jfbeaudin@hotmail.com


Traverso


  1. 3.      Rottenburgh G.A. * 415Hz, boxwood, small in f. Collection B. Kuijken, Belgium.

  2. 4.      Scherer. (Maker proposed) *412Hz, ivory. Coll B. Kuijken,

  3. 5.      Rottenburgh G.A. *415, 410Hz, boxwood, (very good sound and tuning). Coll, B. Kuijken.

  4. 6.      Lecler *415Hz, ivory, (good tuning). Museum at the conservatory of Brussels.

  5. 8.      Lot Thomas *410Hz, boxwood. Late shape. Private Collection, Lyon, France.

  6. 10.    Lot Thomas *415Hz, boxwood. Museum de LaHaye, Holland.

  7. 11.    Rottenburgh J.H. *400Hz, light ebony, (very good). Museum,cons, Bruxelles. Inv. : 2001

  8. 12.    Grenser H. *420Hz, boxwood. Museum,( Gementemuseum ),DeHague, Holland.

  9. 13.    Vincent D. *405Hz, ivory. Collection F. Bruggen, Amsterdam, Holland

  10. 15.    Stanesby Jr. *410Hz, ebony. Collection M. Arita, Tokyo, Japan.

  11. 16.    Lot T. *415Hz, boxwood. Coll. Miller, Lib. of Congress, Washington D .C. Inv. : 615

  12. 17.    Bressan P. (*405Hz) box, rare, three sections, center joint non orig. Miller, W. Inv. : 1207

  13. 18.    Quantz J.J. *392 à 415Hz, ebony, nice,six middle joints, two keys. Miller, W. Inv. : 916

  14. 19.    Dumont *410Hz, pearwood, big in Bb, France ± 1720. Miller, W. Inv. : 870

  15. 20.    Lot T. *415Hz, boxwood, big in A. Museum des arts et métiers, Paris

  16. 26.    Quantz J.J. *405Hz, ebony, one middle joint. Museum Schloss Köpenick, east of Berlin.

  17. 27.    Lot T. *410Hz, boxwood, scew cap, Musée municipal de Clamecy, France.

  18. 28.    Rippert J.J. *395Hz (pitch proposed) boxwood, three sections. Private collection, Paris.

  19. 29.    Rippert J.J. *395Hz , ivory, three sections, (very rare). Coll. privée, Paris.

  20. 30.    Lot T. *420Hz, ebony, original very short middle joint Private coll, Melun, France.

  21. 38.    Grenser A. *415Hz, boxwood, m.joint no : 2. M.Putterman, Montréal.

  22. 40.    Lecler . *415Hz, boxwood, (good tuning). Collection, L. Kaltenback, Paris.

  23. 42.    Bizey C. *392Hz, boxwood, ± 1715. Restauration and coll J.F.Beaudin. Mtl, Qué, Can.

  24. 48.    Lot T. *405Hz, boxwood, piccolo,(very rare). Coll. L.Kaltenback, Paris.

  25. 49.    Naust. *405Hz, ivory, Four sections. Coll.L.Kaltenback.

  26. 67.    Quantz J.J. *410Hz, ebony, one key?. Museum, Burg Hohenzollern, Germany.

  27. 96.    Delusse C. *420Hz, ebony, corps no : 2, (in tune). Collection J.P.Pinet, Metz, France.

  28. 101.  Potter. 430Hz, boxwood, ± 1780, C foot, 4 keys + C#, D#. Coo, C.Guimond, Mtl.

  29. 102.  Lot T. 400 - 420Hz, My own choice of five middle joints from different flutes.

  30. 104.  Stanesby, Jr. ± 410Hz, ivory-silver rings. Miller coll, no : DCM 1125

  31. 105.  Rottenburgh J-H. 415Hz, maple, + corps d'amour 397Hz, Miller DCM 507.

  32. 106.  Hotteterre Jacques ? very rare, 398Hz, boxwood-ivory. Cité, Paris. E. 999.6.1

  33. 109.  Beaulieu. 396Hz, ebony and silver rings, rare, Bisey style, coll, M.Arita, Tokyo.

  34. 110.  Tortochot. 415-430Hz , rosewood-ivory, bore 19.4, perfect. Coll, M.Putterman, Montréal.

  35. 111.  Tortochot 415Hz, ebony-ivory, bore 19.1, foot missing. Collection Joanna Marsden, Montréal.

  36. 112.  Anonyme/Bizey style, *415Hz, ebony and ivory rings, at Mr. Bissonnet’s store, Paris.

  37. 113.  Bizey C. *400,405 Hz, boxwood ± 1745, Collection J.F.Beaudin, Frelighsburg, Québec.
    114.  Palanca C. *415 Hz, ebony, ivory, tuning slide. Collection Jan De Winne, Belgium.


Recorders

  1.   18.    Hotteterre Louis. *398Hz, boxwood, bad middle joint bore . Coll. Miller, W. no :326

  2.   47.    Anonyme *415Hz, galoubet XVIIIth century.Rosewood. Coll. Hugo Reyne. Paris.

  3.   73.    Rippert J.J. *395Hz, boxwood, (nice and rare). Collection L.Kaltenback. Paris.   
               See the website "  The recorder home page "  of Nicolas Lander 
               http:/ / www.iinet.net.au/ ~nickl/ drawings.html

   

Take a look at other lists of my drawings at various European museums:

Musée de la cité de la musique, 221 avenue Jean-Jaurès, 75019, Paris, France.             
 (14 flutes, 11 recorders.)

 http://philharmoniedeparis.fr/fr/liste-des-dessins-techniques

Email : mediatheque@cite-musique.fr

 Museum of Edinburgh University, The Curator, Edinburgh University Collection of Historic Musical instruments,
 Reid Concert Hall, Bristol Square. Edinburgh,EH8 9AG, Scotland.     
 (3 recorders, 11 flutes )

http://www.stceciliasfriends.org.uk

Note: To access the drawings click on ‘More’ in the main menu. Select ‘Items for sale’, and then ‘Wind Drawings’.

 Email : friends@stceciliasfriends.org.uk

 Museum of Berlin. Musikinstrumenten-Museum Staatlicshes Instituts für Musikforschung,
 PreussischerKulturbesitz1. D10785 Berlin-Tiergarten. Germany.          
 (5 recorders, 13 flutes )

http://www.sim.spk-berlin.de/zeichnungen_570.html

Note: Stay on the German page and click on the PDF link in the first listed item ‘vermessenen Holzblasinstrumenten’.

Take a look at my drawing of the Quantz flute ( number 19 of my list ), in the
Miller Collection at the Library of Congress, Washington, D.C.:                  

http://memory.loc.gov/cgi-bin/ampage?collId=dcmflute&fileName=0900/0916/dcmflute0916browse.db&action=browse&title2=DCM+0916:+++Johann+Joachim+Quantz+/+Flute+in+C&displayType=3&recNum=0&itemLink=h?ammem/dcm:@field(DOCID+@lit(dcm000851))

These hand-made early flute technical drawings are the result of incalculable hours of work in museums and private collections, starting in 1979.


The method applied comes from my regretted teacher, the Australian recorder-maker Frederic Morgan (see the drawings of Frans Bruggen’s recorder collection published by Zen-On , Japan).


Each flute is represented full-size as it came, and ideally all the information is condensed into one sheet of 8½ by 14 inches ( 215 / 355mm). In these drawings I try as much as possible to provide the personal touch of the maker. Dimensions are taken in millimetres with a calliper.


The bore is measured with a telescopic gauge on every variation of 0.1mm finding the furthest position from the beginning of the larger side of each joint. Sometimes, when the bore is warped and oval, the maximum and minimum measures were taken.


The shape of the holes’ undercut (embouchure and fingers) is shown by drawing the inner shape of the chimney. White paper was inserted into the bore for light reflection. Four points of the hole circle are given, north, south, east and west. The dimensions of the lower part of the chimney are taken by printing the shape with moulding paste on a stick.


The pitch is taken in Hertz on A, and the tuning expressed in Cents from equal temperament using an electronic tuner. When necessary, I also give the fingerings.


Tuning is a problematic subject on the traverso (baroque flute) because of the different embouchure techniques of players. For my part, as much as possible, I follow Quantz’s own advice in his famous treatise. He explains that when we put the pieces together we should turn the embouchure hole inside towards the lips of the player. The edge which receives the air should be in line with the inner side of the finger holes. When playing the second D, the embouchure should be half covered.