Best story

[imperialbari]

On the Flute list Trevor Wye wrote:

William Best (1806 ‑ 1859) began playing the flute while young and later studied at the newly formed Royal Academy of Music in Marylebone Road, London in 1826. He progressed rapidly and in 1832, became principal flute of the prestigious London Orchestra and Professor at his old school, the Royal Academy of Music He was one of the most famous players in England, a friend of Charles Nicholson and his opinion was sought far and wide on all matters to do with traditional performing and with teaching. He was at the top of the tree.

His students asked him about the new Boehm flutes introduced in 1832 which were being made under licence in London by Rudall and Rose. Best had tried one perfunctorily, but preferred the traditional 8-keyed flutes of which he owned several amongst which was a beautiful example with ivory mounts and engraved silver keys. During the next few years, Best was asked about the latest alterations and additions to the mechanism, but he preferred the traditional flute.

In 1847, Theobald Boehm brought his new cylindrical bore Boehm System flute to London with its newly designed mechanism which aroused great interest amongst players. Once again, Best's devoted students asked him about it and he replied that he had taken a look at the new flute but felt that it had altered in an unacceptable way. ''I play a wooden flute, the traditional flute, which GREW! It was once alive, like the great string instruments we play today. I play a woodwind instrument! I cannot imagine playing music on a piece of plumbing!'' He strongly advised his students to stay with the traditional flute and his students complied ‑ they had to, though one or two secretly tried out the new Boehm flute at Rudall and Rose's London shop and were very impressed.

In June 1851, William's elderly colleague and second flute died suddenly and auditions were promptly held for his position. William was present at the auditions, as were most of the orchestra in those times and they heard eight very good players. Then came the ninth candidate, George Dunn, who played on a new silver Boehm flute. Dunn played very well indeed and flew effortlessly through all the difficult orchestral passages. William was irritated, and if the truth be told, he was jealous. The large majority of the orchestra voted to accept Dunn but William was against him, but he finally had to agree to him being offered the job.

After Dunn's appointment, the first few weeks were pleasant enough and William found George Dunn to be a diligent and thoughtful colleague. One day, William arrived at the hall very early and heard George in the dressing room, thinking he was alone, sailing fluently through some really difficult orchestral passages.

At the Royal Academy of Music, a few of William's students were secretly practising the new Boehm flutes and there were complaints to the Director about William. Eventually, some of the students had private lessons with a Boehm flute player outside the RAM. As the years passed, William also found that he had fewer RAM students and fewer private students too. Engagements as a soloist were rarer and, with his family commitments, he began to find life rather hard. Whenever the opportunity offered itself, he spoke out openly against the new flute, ridiculing it in public, though his listeners were mainly the already converted; the younger players had moved on to the new Boehm flute.

William's health began to suffer. He started to drink heavily and finally, the orchestral committee met and suggested he stand down and retire. George Dunn was offered his place and gratefully stepped into William's shoes. The RAM Director too, suggested he retire.

With no job, William had little money and was eventually obliged to sell his precious flutes. His final years saw him as an angry, bitter and disillusioned man. He died shortly after his 53rd birthday. A few of his former colleagues remembered him, and came to the funeral. His widow died a few months later.

[windshieldbug]

"You'll never work in this town again (unless we need you)"

[hup_d_dup]

I love a happy ending.

The subject line is both accurate and misleading.

Hup

[imperialbari]

For the sake of fairness:

Trevor Wye presented his text as ‘A sad story’.

Trevor Wye posted this story in the context of a discussion on the Flute list about the potentials of artistic expressivity of old versus new flutes, where parameters of headjoint bore profile, cutting of the embouchure hole, scale measurements, drawn versus soldered tone holes, and likely more factors, are much discussed. I found this story giving an interesting angle also relevant in the context of discussions of other instrument types, even if these may not have congruent samples of conservative players. So with Trevor Wye’s written permission I posted it here. Even gave Trevor Wye the link for this thread. He hasn’t complained about my headline yet.

Klaus

[hup_d_dup]

Not a complaint, just an observation.

Hup

[imperialbari]

Not a complaint, just an observation.

Hup

Not understood as a complaint. Only wanted to clarify that the headline of this thread was by me, not by Trevor Wye. The double interpretations and the contrast between their being right and wrong was intended, which will be not surprise those knowing my writings.

The discussion hasn’t had any takes in the direction I expected. But then a FaceBook group for tubists had an entry after I opened this TN thread, which touched on the old versus new discussion.

A British tubist happened to have 3 British Eb tubas in his home at the same time. A Boosey & Hawkes Imperial (apparently with a 19" bell and with leadpipe modifications), a 30 years old Sovereign, and a 20 years old Sovereign.

He weighed them, and they got lighter the younger they were.

I asked the poster, which one he preferred, to which he answered: The Imperial.

As for playability my 1999 Besson Sovereign Eb 3+1 comper likely is my best tuba, but then my 1923 Boosey F 3+1 comper and my 1970 Imperial BBb 3+1 comper both have each their distinctive sounds.

Soundwise I also prefer my 1927 Conn 40K and 1928 Conn 26K over my 1946 Conn 28K.

Klaus

[Rick Denney]

Sorta makes you wonder if there was a late defender of the ophicleide against the upstart tuba.

Rick "the new broom does not always sweep clean, but sometimes it does" Denney

[Three Valves]

His final years saw him as an angry, bitter and disillusioned man.

I've been that way for 30 years!!

[imperialbari]

Sorta makes you wonder if there was a late defender of the ophicleide against the upstart tuba.

Rick "the new broom does not always sweep clean, but sometimes it does" Denney

Not remembering my sources as I haven’t taken notes from my reading over the years:

British brass makers used a dirty trick in their attempts to phase out the ophicleide. As sponsors for the very common competitions they gave euphoniums to the winners of the ophicleide category.

I seem to remember seeing documentation of ophicleides made up until 1920, maybe even until 1930 or 1935.

A professional trombone friend visited Cuba around 1992 and took a photo of an ophicleide player in a street band doing local popular music. Looked more like the continuation of a tradition than like a revival project. But then the Cubans may have had the same approach to their musical instruments as to their cars of American origins. Keep them going, as there is no affordable alternative.

When hearing recordings of Nick Byrne playing the ophicleide I tend to wonder why that instrument went out of fashion. But then hearing other modern ophicleide recordings point to very good reasons for its historical fate.

Klaus