(Brussels, 1672-1756) Ebony original in the Brussels
Conservatory museum. a=396.
According to newspaper announcements, the stamp
of Johannes Hyacinthus Rottenburgh was still being used by
his sons and successors some time after his death. Still,
the general opinion of the Brussels example we copy is that
since its proportions are so much like those of a 3-joint
flute (note the long headjoint) it is probably an early 4-joint
model of around 1720. This flute is exceptionally well-balanced
in tone and intonation, and was a popular choice for playing
early 18th-century music until we started making our Eichentopf
reconstruction, which is remarkably similar only, frankly,
Kim Pineda, with Elisabeth
Wright (harpsichord) and Elisabeth Reed (cello).
From: Compositions for Transverse Flute: Johann Sebastian
Bach (1685-1750). Early Music Institute Focus 944.
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