Something one doesn't see everyday (no affiliation):
http://cgi.ebay.com/Monzani-Wooden-Silv ... 0367564009
No telling how it plays; the stopper cork looks beat, and C. Nicholson thought Monzani's flutes more notable for their "neatness and excellent workmanship" (C.N. "School of the Flute", p. 6) than for their playing qualities. If nothing else, check out some cool pics. I can't recall seeing a barrel tenon like this. Pity about the nickel replacement foot keys....
Bill
Monzani on eBay
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Bill Wolfe
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RudallRose
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Re: Monzani on eBay
nearly all Monzani flutes (this one is a Hill late Monzani.....since Henry worked for Theobald and then took the company over) have the male barrel into the female heart piece.
The first Monzani flutes were simply his name.....and Henry's affiliation was clearly seen on the silver marks at the upper socket, where the "TM" and "HH" were stamped together. Hill took the firm over much later (though Monzani's son, funny enough, took up shop in the USA.....there's a Siccama-style Monzani flute in the Dayton Miller collection that stumped everyone .....until we discovered the boy was in the states!
Monzani was also one of the first to serial number the flutes. And the "Hill late Monzani" stamp was also one of the first to acknowlege a maker's affiliation with a prior manufactury, much like "Wylde from Rudall & Rose" or "Hudson from Siccama."
The Monzani patent was on the socket design, essentially to prevent cracking. A very good idea mind you. All the sockets were silver, inside and out. Very heavy, but very serious craftsmanship.
at first he used only solid headpieces, no barrel.....and an integrated foot and subheart (no foot joint).
beautiful stuff. The tuning slides came in later.
Monzani was also one of the first cocus flutes on the scene in the UK. I believe it was around the time the crown was bringing back more and more cocus from Cuba and Jamaica, so the first to get access were those affiliated with the palace, such as Monzani.
my first flute (a boxwood Monzani) played very well....but the tuning on the D was awful.
the silver work was beautiful, too. The stamps allow you to date the flute precisely.....well, the keywork anyway.
Monzani struggled (as did Henry Hill) to keep their practice alive once Rudall came onto the scene and Nicholson had run off with Prowse (and clementi earlier).
Monzani was one of the first to jazz up the flute workmanship, to set themselves beyond the others......but without success, though there are some beautiful Monzani flutes remaining today.
His was the first to have the screw in key cups......which actually "floated" into the pad seats.
The first Monzani flutes were simply his name.....and Henry's affiliation was clearly seen on the silver marks at the upper socket, where the "TM" and "HH" were stamped together. Hill took the firm over much later (though Monzani's son, funny enough, took up shop in the USA.....there's a Siccama-style Monzani flute in the Dayton Miller collection that stumped everyone .....until we discovered the boy was in the states!
Monzani was also one of the first to serial number the flutes. And the "Hill late Monzani" stamp was also one of the first to acknowlege a maker's affiliation with a prior manufactury, much like "Wylde from Rudall & Rose" or "Hudson from Siccama."
The Monzani patent was on the socket design, essentially to prevent cracking. A very good idea mind you. All the sockets were silver, inside and out. Very heavy, but very serious craftsmanship.
at first he used only solid headpieces, no barrel.....and an integrated foot and subheart (no foot joint).
beautiful stuff. The tuning slides came in later.
Monzani was also one of the first cocus flutes on the scene in the UK. I believe it was around the time the crown was bringing back more and more cocus from Cuba and Jamaica, so the first to get access were those affiliated with the palace, such as Monzani.
my first flute (a boxwood Monzani) played very well....but the tuning on the D was awful.
the silver work was beautiful, too. The stamps allow you to date the flute precisely.....well, the keywork anyway.
Monzani struggled (as did Henry Hill) to keep their practice alive once Rudall came onto the scene and Nicholson had run off with Prowse (and clementi earlier).
Monzani was one of the first to jazz up the flute workmanship, to set themselves beyond the others......but without success, though there are some beautiful Monzani flutes remaining today.
His was the first to have the screw in key cups......which actually "floated" into the pad seats.