Best story
Posted: Sun Feb 07, 2016 5:00 pm
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.
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.
