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This flute is a replica based on the original of Johann Joachim QUANTZ flute , which is now part of the Dayton C. Miller Flute collection (N°916), located in the Library of Congress in Washington.
It has, in total, six extra middle joints, the shortest being of the order of a semitone up to the longest giving a tuning-fork frequency of around 385/389 Hz.
Like other original Quantz flutes, the head joint contains a tuning slide with a threaded cork-setting mechanism and two keys on the foot to differentiate D sharp from E flat.
In addition, the foot is equipped with a silver ring (not the usual ivory), this increases the "weight" at the end of the instrument which provides a more balanced flute.
I offer as Standard :
flute with left hand joint for pitch a= 392 Hz, made of mopany,
head joint with a tuning slide,
foot joint equipped with D sharp and E flat silver keys, imitation ivory rings.
On request :
- foot joint with a silver ring as the original instrument,
- threaded cork-setting mechanism on the head as the original instrument,
- flute made of ebony (Diospyros crassiflora),
- extra left hand joint for a=415 Hz *.
* : at the beginning of my work on the Quantz flute, I suggested this extra middle joint for 415 Hz, and I had removed from my catalog, whereas it did not allow the flute to have all the features described in the Quantz's treatise, including the "extraordinary" F sharp. I offer again this extra middle joint for 415 Hz, at the request of some of you, and because the compromise of accuracy is very good with this joint at 415 Hz that can play with a rich timbre and an increased power over other baroque flutes.
But the best result for this flute is obtained with a low pitch, to play in the spirit and all the features described in the Quantz's treatise.
The thesis of Mary Oleskiewicz (2) (3), American academic and flautist, published in 1998, helped to shed light on the innovative contributions of this composer, flautist, teacher (and also a flute maker ?(4)).
She identifies Quantz as perhaps the inventor of the "sensitive style" over C.P.E.Bach and examines the influence which the musical life of Dresden and Berlin could have had on the works of J.S.Bach.
After playing the original instruments of J.J.Quantz, Mary Oleskiewicz remarks that these instruments play perfectly in all the tones if the instructions in the treatise are applied rigorously.
It is in this spirit that I work to rebuild the J.J.Quantz flute. You will find on my flutes all the features described in the treatise and of course the "extraordinary" F sharp, so important to Quantz. Quantz wanted to create his flutes for its own requirements, by raising the manufacturing of these at the highest level at the time. As a maker I have to put in my flutes the same highest level, and you as flutists you have to experiment and make them speak and vibrate. This is my wish for this incomparable flute.
You can read here (in french, sorry) the information sheet highlighting all the characteristics of this flute, which accompanies each instrument I make.
J.J.QUANTZ (1697-1773) : without recreating his biography here, I would simply like to point out his pivotal position in the musical history of the 18th century, between the baroque and classical styles, centred around an extremely rich musical life in Dresden and Berlin.
His very complete musical training, his perfect knowledge of French, German and Italian styles, his compositions which tend towards new expression, his treatise of 1752, so much more than a simple training manual for the flute, his virtuoso technique, as well as the modifications which he makes to the instrument have given him a special status in the musical landscape of his time.
Repertoire : This flute with its "clear, sharp, dense, round and virile sound", as defined by Quantz himself in his treatise, would be useful to be rediscovered in the context of his works (some have still to be realised) and his treatise, for this instrument that differs from those of the other flute makers of the time, in its craftsmanship and its specific playing technique. For, particularly, J.S. Bach’s BWV 1035 Sonata and Musical Offering and when you would like to listen to beautiful and very colourful sound, "one could combine it, no longer with the over bright harpsichord but with the mellow sound of the forte piano" (J.F.Alizon (2)).
(1) « Versuch einer Anweisung die Flöte traversiere zu spielen » Berlin 1752. Available from Robert Martin publications.
(2) Also read the article by J.F.Alizon published in "Traversière Magazine N°74" « J.S.Bach et J.J.Quantz : une controverse à propos de la sonate en Mi majeur et du trio de l’Offrande Musicale ».
(3) Mary Oleskiewicz's Website where you can obtain her thesis « Quantz and the flute at Dresden : his instruments, his repertory and their significance for the Versuch and the Bach circle » Department of Music, Duke University, dec.1998.
(4) It is not known whether J.J.Quantz made his flutes himself or if they were made by a third party under his control.

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à partir de/from/desde
20 février 2018

Pierre Etchegoyen
46300 Gourdon

Tél. +33 6 14 36 31 96