To Alter or Not

Posted by Sir James Galway on May 22, 2004 at 01:07:04:

To alter or not to alter, that is the question...

This is a letter from my friend Jonathan Brahms and my input. I thought you all might find this interesting.

Under rather unusual circumstances a number of years ago, I was given a gift, a fine, early 20th century wooden Boehm flute. It was not in playing condition and its case was junk. I knew it was a quality instrument, and its former owner wanted me to play it, so I had it overhauled and had a modern case made for it.

Thing is, it was an open G# and I play a closed G# and I do not have the gift of being able to go from system to system as some people do. I was faced with a dilemma - I wanted to honor the person who had given me the flute and enjoy myself in the process by playing it, which I could not do freely and fully.

So naturally, I considered having the open G# converted to a closed G#. I spoke to two specialists who could do this. The instrument was not rare or very valuable. The "operation" was not too expensive. There are not many open G# players these days and probably even fewer who would want to buy it - and why would I sell an instrument that had sentimental value for me?

I still have to decide whether to preserve the flute as it was made for the principle of it - or altering it so that I - and others after me - can play it. After all, conversions could have been done one hundred years ago too and the closed G# was played then, so it would not have been anachronistic.

The decision about not selling Louis Lot to players who would alter them strikes me as correct, but that does not help me with my own decision!

Your thoughts are welcome.

Jonathan Brahms
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Jonathan, I personally would not have it altered. I think it is always fun to have a go at playing open G #. I also do not agree with the changing of these fine instruments. My teacher Geoffrey Gilbert played the flute perfect well in tune and he had I believe an unaltered Lot. I had a recording in London sometime back when I was recording for BMG, ( I am now recording for DGG), and needed a piccolo. I borrowed one from William Bennett, open G# and managed to do the job in two or three takes despite the fact the piece was in F # major.

I do have a couple of old flutes. I recently acquired a Bonville as a gift and love to play it from time to time. the other one is by E. J. Albert of Brussels and I will never change anything on either of them.

I have always bought modern flutes and enjoyed playing them. The "Lot" brigade are always going on about the special sound they have but I am afraid I cannot tell when one is playing on a Lot or and Muramatsu. When everyone is talking about the colors, strength and so on of a particular flute I still fail to hear the difference. I know the playing of William Bennett better than any other flutist around and cannot tell if he is playing a Lot or an Altus. When Trevor Wye changed to a modern flute I still could not hear the difference. Flutes sound mostly the same to me.

Recently I was in Japan and went to listen to the Tokyo Phil. the players there were playing wooden flutes and they again sounded just like flutes to me. I believe from time to time the Berlin Phil ues wood flutes. I am a big fan of the BPO and of Emmanuel Pahud but there again on the records I cannot tell the difference.

I guess there is something to the old saying "Seeing is believing".

The bottom line is I get a kick out of all flfute playing no matter what they are using.

Perhaps you can all help me out here.

As for cars, there I can tell the difference.

Best wishes,
James Galway