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“Wood Flutes Under the Microscope II -
Godfroy and Louis Lot”
…continued from “Exploring Contrasts: Two Villette Wood Flutes Under the Microscope”
In this article, I will study the details of two important wooden flutes, whose significance today may not have been anticipated by their makers. The two flutes are Louis Lot #886 and Godfroy #840, both cylindrical, made of cocuswood, Maillechort keywork with small cups down to the low C footjoint, Diapason Normal. These flutes are part of the private collections of Phil Unger and the author.
(Top Godfroy #840, bottom Lot #886)
Louis Lot #886 was made in early 1865, while Godfroy #840 likely dates back around two years prior. During this time, wood flutes remained more popular than silver flutes. However, a key proponent of the silver Boehm flute, Louis Dorus (1812-1896), became the flute professor at the Paris Conservatory in 1860. This changing landscape, along with Louis Lot becoming the institution's official flute supplier, paved the way for the silver flute's rise as the preferred instrument for serious and professional flutists.
(Top Lot #886, bottom Godfroy #840)
The feel and sound of these early cylindrical wood flutes are quite different from their contemporary silver counterparts. The first impression is that the wood flutes are more intimate and have a much warmer tone. These characteristics, however, were not the primary intention of Boehm's invention, which was greater volume. His schema and key system were the by-product and necessary means to achieve this goal. Using wood was a step backward to this purpose. Boehm was not keen on it but market forces and tradition prevailed, and he reluctantly produced many wood flutes.
(Top Lot #886, bottom Godfroy #840)
In contrast, the French benefited from their tradition of prioritizing aesthetics (beauty above all) and developed a distinct tone for their wood flutes, separate from their silver sibling. Historic annual production records of Louis Lot indicate that wood flutes (cylindrical plus conical Boehm systems) surpassed silver flutes until around 1870 when production levels for both types reached parity.
There are no production records available for Godfroy's flutes. However, a significant piece of information is associated with Godfroy #802, a silver flute engraved with "Exposition / de Londres / 1862". It is likely that our flute, Godfroy #840, was produced the following year.
Louis Lot and Godfroy worked together for many years making Boehm flutes alongside 1832 system ring key and ordinary flutes. In 1855, Louis Lot ventured out on his own. His silver flutes, and those of his successors, became a source of inspiration and a standard of excellence for Bostonian makers Haynes and Powell. Conversely, Godfroy's pursuit lasted only a single generation, directed by Vincent Hypolite Godfroy and later his widow, Madame (Clarisse) Godfroy, before ceasing operations in 1888.
(Top Lot #886, bottom Godfroy #840)
Our two flutes have beautifully made keywork. Their elegant design is also ergonomically correct. The G# lever shape on Godfroy #840 tapers to a subtle point, in contrast to Lot #886's rounded finish. This subtle feature on the G# touch is common among many Godfroy flutes. The inner rings within the closed cups of both flutes vary significantly in size, creating an optical illusion: the Lot's cups appear smaller than Godfroy's even though they are the same size.
(Top Lot #886, bottom Godfroy #840)
The open hole designs differ noticeably as well. Godfroy #840 features slightly larger openings with a ridge that is both higher and narrower. This design creates a more distinct feel for the player's fingers, providing a clearer sense of where the opening is located.
Similar to many early Lots, #886 lacks a Bb or B/C shake, boasting a very clean design. The flute is light, weighting only 379 grams. The Godfroy is marginally heavier at 383 grams. It does have a B/C shake that is supported on the trill rod, a feature occasionally seen on Bonneville flutes.
(Top Lot #886, bottom Godfroy #840)
Small footjoint keycups and tone holes eventually gave way to larger ones around the time these two flutes were made. The belief was that larger openings in the footjoint could result in a stronger and fuller sound. The adverse effect is unevenness and compromising the resistance of the high notes, making them sound courser. Consequently, many early metal flutes featuring small keycups had their original footjoints replaced at the factory with the updated, larger versions. Wood flutes seem to have escaped this fate. It is possible that the musicians who opt for wooden instruments prioritize aesthetics over playing volume. Additionally, creating a new footjoint that matches the wood color of the body would be more challenging.
(Left Lot #886, right Godfroy #840)
The round and square ribs are distinct features of each flute.
(Top Godfroy #840, bottom Lot #886)
Another view of the ribs: The curve where the trill section meets the main body reveals a distinct stylistic touch in each flute maker's work.
(Left Godfroy #840, right Lot #886)
The Louis Lot back connectors resemble those found on vintage Powell and Haynes flutes, while Godfroy's back connectors are smaller and shaped like a half circle. The graduated bevels add a visually pleasing touch to the design.
(Left Godfroy #840, right Lot #886)
The thumb cups on both flutes are identical in size and use 15 mm pads. The tone holes are a minimum of 1 mm smaller than those on modern flutes. This allows for a smoother transition from C to C# and onto the next register.
(Top Lot #886, bottom Godfroy #840)
The oval embouchure hole is an old tradition that did not get replaced when Lot and Godfroy started making their version of the Boehm flute in wood. While Boehm advocated an elongated rectangle embouchure for more power, the French favored elegance and warmth. The embouchure of Lot #886 has the dimensions of 10.1 mm x 11.9 mm, whereas Godfroy's version has slightly different dimensions at 10.3 mm x 11.8 mm. Both headjoints have the same outside diameter of 1.007", which yields a fairly low wall.
Our two wood flutes occupy a unique sonic space that is not available in today's instruments. They share more similarities than variances. Both are highly resonant and lightweight, responding well to light articulation. Their tone possesses much presence without being loud. They provide the optimal amount of resistance for precise control across the registers. These flutes reflect a particular musical aesthetic prevalent in mid-19th-century Paris. They were new inventions and modern instruments in 1860's that only a select few had the privilege to own and play. With either flute in hand, it is easy for me to let go of my modern thinking and just listen.
by David Chu, 2024, Maynard, Massachusetts
Copyright
© 2024 David Chu
For more information please email Alan Weiss at alan@vintagefluteshop.com