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“Gold Powell Flute #60 – A Personal
Perspective”
The two words “old Powells” are magical to some musicians. These words are lovingly used to refer to the flutes that Verne Q. Powell (1879-1968) made during his tenure at his eponymous company from 1927 until his retirement in 1961. There are approximately 2,000 instruments in total, ranging from flutes, alto flutes and piccolos. The first 100 flutes Powell ever crafted stand apart, embodying their own level of exclusivity and artistry.
In this article, I aim to explore the essence of Powell #60, comparing it to an early silver flute, Powell #19, and highlighting other intriguing examples to gain perspective on why #60 is so special.
(Top Powell #60, bottom Powell #19)
Powell #60, a French model 14K gold flute with thin tubing of 0.009 inch, was made on January 28, 1929 for John Wummer. Powell #19, a similar flute made with thin silver tubing of 0.012 inch, was produced a year earlier. These two flutes are in the collections of Gary Schocker and the author, respectively.
I first saw Powell #60 around the mid-1990s while visiting Robert (Bob) Gilchrist in La Crescenta, California. Along with Joel Tse, we were getting “acoustic work” done on our flutes. During our visit, Gary Woodward, then-owner of Powell #60, stopped by and graciously showed us many of his old Powell treasures including John Wummer’s gold and platinum Powell flutes and an old Powell alto flute. It was truly an eye-opening experience for me.
(Engraving on all three joints)
“I came across this flute in the early 1990s. A dealer had it for sale and it was in terrible condition. Robert Gilchrist urged me to purchase the flute, ‘guaranteeing’ it would turn out to be spectacular. It did, after Robert’s work. Robert thought it to be the finest flute he had laid his hand upon.” – Gary Woodward
(JRW – Monogram of John Robert Wummer)
John Wummer (1899-1977) was a renowned flutist who played principal flute with the Detroit Symphony (1925-1937), the NBC Orchestra (1937-1942), and the New York Philharmonic (1942-1965). While playing with the Detroit Symphony, Wummer ordered his gold Powell #60. He was already familiar with Powell’s work during his employment at Haynes as he had previously purchased two French model Haynes flutes in the mid-1920s. Wummer, along with William Kincaid and Arthur Lora, became Powell’s first customers at the inauguration of the company in 1927. Wummer bought Powell #4, which is now in the archives at the current Powell factory in Maynard, Massachusetts.
(L. to R. – William Haynes, Verne Q. Powell and George Haynes)
During Powell’s thirteen-year tenure at Haynes, over ten gold flutes were produced, and he undoubtedly played a significant role in their creation. Following his departure, he continued to make gold flutes, with #60 being the third that he built. Over the next three decades, Powell produced close to thirty gold flutes bearing his signature logo. #60 was the only one he ever made with extra thin tubing. It’s not possible to know whether the thin tubing was a request from Wummer or something that Powell decided on his own.
“The flute [#60] is unlike any other Powell I have played. It is as flexible as it is muscular. Usually very light flutes, like Laurent model Haynes afford great flexibility at the expense of the thick sound I can get from a standard .013. This flute, which is even thinner than those flutes, has a liquidity and a thick warm variable tone, with almost none of the color-canceling chiff which covers the color of most gold flutes.” – Gary Schocker
(Powell brochure from 1928)
In his 1928 catalog, Powell described his top-of-the-line flute model as “Hand Made, Louis Lot pattern, thin, hard, soldered tone holes, with either open or covered key mechanism; closed G# or open G#.” Powell clearly understood the value of a thin flute. The body tubing of Powell #60 is actually much less than .010” as noted in Powell's records and weighs only 379 grams, even lighter than silver Powell #19 at 385 grams.
“I believe this flute
marked Powell’s creation of a unicorn: his version of a gold Louis Lot, which
at that time, none were believed to exist.” – Gary Woodward
(Rampal playing on Louis Lot #1375)
According to Jean-Pierre Rampal, his 18K gold Louis Lot #1375 weighed just over a pound, or 454 grams, making it significantly heavier than Powell #60. Since no one in the Western world had seen Lot #1375 until 1948, Powell would have based his idea of a gold Louis Lot on his own intuition.
(Rampal’s gold Haynes flute #29333)
14K gold Haynes flutes from the golden age period (1955-1965) generally weigh about 430-435 grams and are made of .012” tubing. Considering the 10% difference in density between 14k and 18k gold, Lot #1375 is actually made of thinner metal all around as compared to Rampal’s Haynes flute from 1959. However, it is still not close to the extreme lightweight of Powell #60.
Powell's idea for the #60 flute wasn’t just about using the thinnest possible tubing that could withstand professional use. It was a testament to his obsessive attention to detail. He scrutinized every aspect, even those that most flutemakers take for granted, and meticulously reworked them for this special instrument. Powell needed to trim about 50 grams from the standard gold flute to achieve his goal, which might just be an arbitrary 10% to 12% reduction. The real challenge, however, was in exploring the limits of how much weight could be removed.
The tubing thickness of Powell #60 averages around 0.009”, significantly less than the standard 0.012”. It's possible Powell specifically ordered tubing with this precise dimension or, if he had the necessary equipment, he might have drawn the tubing down himself to further increase its hardness. This yielded a weight loss of roughly 35 grams, a substantial portion of Powell’s target. Most flutemakers would consider this an exceptional achievement and be satisfied with the result.
(Tone holes of Powell #60 and #19)
Next, Powell reduced the wall thickness of the tone holes from 0.040” to 0.032”, saving approximately 6 grams. This modification, however, could have compromised the solder’s surface area for adhesion. Most flutemakers are not willing to take the risk of potential tone hole leaks. No special tools are required for this operation other than thinning the initial stock on the lathe.
(Thinner rings cast smaller shadow, #60’s rings are practically flushed with the body tubing)
Comparing to silver Powell #19, the rings on #60 are 4% smaller in diameter, resulting in a remarkable 30% weight savings, equivalent to 5 grams. This significant weight reduction is achieved without compromising the aesthetic appeal of the flute.
Rings are primarily cosmetic on metal flutes and already stronger than necessary for structural integrity. This was a tradition carried over from wood flutes where the rings helped prevent cracking. Reducing the diameter of the rings does not require additional tooling. Simply cutting deeper during the form cutting process achieves the desired effect. It’s another clever maneuver on Powell’s part to satisfy his aims.
Powell’s decision not to modify the posts reveals a deep understanding of their crucial function. The posts, with their precise shape and waist size, provide the perfect balance of firmness for supporting the key mechanism and flexibility for easy alignment adjustments using a wooden mallet. The height of the posts is equally critical, impacting the overall ergonomics of the key mechanism. Too short a post leads to unnecessary difficulties in repair and manufacturing, while too high a post results in clumsy key operation. Furthermore, the distance between the post and the tone hole plays a significant role in creating that subtle feel that distinguishes a Powell from other brands like Haynes or Louis Lot. This combination of factors creates a unique playing experience that is highly valued by flute players.
(The beautiful keywork of Powell flutes)
“Early gold flutes
although warm sounding, were criticized as being somewhat dull and lacking in
projection when compared to silver flutes. This gold flute with its ultra thin
tube combines the warmth of gold with the vibrancy of the lighter metal.” –
Gary Woodward
In general, a lighter key is better because of a smaller inertial. Many wood Godfroy and Louis Lot flutes were made with Maillechort keys – which is about 30% lighter than silver – to offset the weight of the wood body. Those flutes usually have fabulous key action. Many even have small key cups to further this effect.
(A hole was drilled in the lug to save a tiny bit of weight)
When the keys of silver flute #19 and gold flute #60 were disassembled and weighed, the silver keys weighed 149 grams and the gold keys weighed 164 grams. This difference of only 10% is significantly less than the 25% difference one would expect based on the relative densities of silver and 14K gold. Powell managed to save 15% in thinning out the keys and the mechanism tubing. The width of the pointed arms was reduced from 0.108’ to 0.095’, and the diameter of the mechanism tubing was decreased from 0.135” to 0.130”. Powell would meticulously file down the keys by hand, removing material where he deemed unnecessary.
The idea of putting silver keys on a gold flute might be considered tasteless in Powell's days. However, at the end of his career, Powell did produce one gold flute with silver keys.
(The classic shape of Powell embouchure holes)
For this experimental flute, Powell took a bold approach to the headjoint. He used a thinner stock for the lipplate, and the headjoint tubing itself was even thinner than the body tubing, yet incredibly strong and springy. However, Powell did not make the crown any lighter. This is an item that can be easily exchanged with another for further experimentation.
Both the silver and gold flutes share similar embouchure holes, offering a consistent playing experience. Powell marketed his creation as “Louis Lot pattern” flutes, and while they evoke a sense of familiarity with Louis Lot instruments, the Powell signature sound remains distinct. The tonal spectrum of Powell flutes overlaps with Louis Lot’s, particularly when played with that intention. The gold flute, however, exhibits an even stronger Louis Lot character due to its exceptionally thin and hard tube.
(Louis Lot #4742, sold to Charles Molé)
(Molé was probably holding Lot #4742, B-foot with left hand lever.)
The flute Powell modeled after was said to be Louis Lot #4742, which belonged to Charles Molé. He was the flute player of the Boston Symphony (1887-1895) and the New York Symphony (1903-1905) - before Laurent and Barrère respectively. George and William Haynes were very likely to have studied this flute. Molé died in 1905, before Powell came to Boston from Kansas. Powell might have encountered and studied Louis Lot #4742 at a later date through his Kansas friend William Tipton, Albert Tipton’s father, as Molé’s Louis Lot #4742 was among the flute collection of Albert Tipton at his death in 1997. William Tipton was a key influence in convincing Powell to leave Haynes to form his own company.
(A Haynes brochure listing all their gold flute players, Barrère’s name was erroneously omitted.)
The impetus for Powell to make this special gold flute was partially due to the sharp increase in gold flute production at Haynes right after he left. A group of about nine gold flutes were made at the return of George Haynes in 1926. The first one was ordered by George Barrère in 1927 with six more to follow the same year, delivered to the most prominent players of the day, including George Laurent. Robert Gilchrist coined the term “Louis Lot Haynes” to parallel the French and American firms, referring to the tonal aspects of the handmade silver and gold flutes produced by Haynes during this period. I consider them the first golden age Haynes flutes, produced from 1927 to around 1933. There are not that many of these flutes because most of the production during this time was of the heavier Regular Model flutes.
Little did Powell know that the Great Depression was just around the corner and he would make just one more gold flute in 1931 and not receive another gold order for thirteen years. However, in 1937, he made his first of eight platinum flutes. These all became legendary, and were played by flute royalty such as Joseph Mariano, John Wummer, William Kincaid, Albert Tipton, etc. During the same period, Haynes only made two platinum flutes, one of which was for Georges Barrère in 1935.
The legacy of Powell is broad and far-reaching. He made many wonderful flutes for so many important flute players. At the height of his career, most flutists in major American orchestras played Powell flutes. Gold Powell #60 is probably his most distinctive creation. The energy he poured into this flute is borderline obsessive. He only did it once and so early on in his career.
by David Chu, 2024, Maynard, Massachusetts
Copyright
© 2024 David Chu
For more information please email Alan Weiss at alan@vintagefluteshop.com