In my previous blog post, I shared some recorded selections from “Greensleeves to a Ground,” which I had been working on as part of an ongoing aural skills project. After completing that recording, it occurred to me that “Greensleeves to a Ground” might work well for a flute comparison, too. Advantages of the composition in this regard include its relatively simple nature, and listener familiarity (even if only the “Greensleeves” tune itself and not the variations).
The Flutes
The two instruments I played for this comparison were a Powell flute that dates to 1928 and a Louis Lot flute that dates to c. 1906.
The Powell flute is a silver instrument with open-hole keys and a C foot. A=440.
The Louis Lot flute is a silver instrument with a gold lip plate, open-hole keys, and a B foot. A = 438.
The Recording Conditions
When I recorded “Greensleeves to a Ground” on the Powell (the playing I shared in my previous post and the same playing I will share in this one), I had yet to think of doing this flute comparison. I have no reason to believe that my recorder’s settings changed in the time between the Powell recording and the subsequent recordings on the Lot. As such, all the below recordings were made using the same recorder settings and player positioning (including microphone distance) within the same room.
The Playing
For the purpose of this flute comparison, I divided my selections from “Greensleeves to a Ground” into two categories, “lyrical” and “active,” according to the qualities of the music. The lyrical recordings feature sections A through C of the composition (treble version). The active recordings feature sections F through H.
Lyrical: Powell flute (1928)
Lyrical: Louis Lot flute (c. 1906)
Active: Powell flute (1928)
Active: Louis Lot flute (c. 1906)
Impressions
The Powell and Lot both afford the possibility of a beautiful sound. Listening to the recordings, I am struck by the openness and volume of the Powell whereas in the Lot, I hear a darker and more compact sound. The fullness of the Powell enabled me to render the lyrical materials with flow and ease. On the other hand, the Lot’s delicate thread of tone paired nicely with the active materials, in particular during segments of eighth notes.
In studying how to play the Lot (the instrument with which I am less familiar), I felt it was essential to carefully consider my physical approach. The question, “What does this flute sound like?” is more interesting to me than “What do I sound like on this flute?” The Lot seemed most responsive to physical efforts grounded in simplicity and efficiency, especially in the areas of air expenditure and vibrato. Notably, this “less is more” observation is consistent with my experience in learning to play Powells from the 1920s, 30s, and 40s, which I pursued after spending multiple years playing a Powell from the 1950s.
Exploring early Powell flutes and Louis Lots is an incredibly rewarding endeavor. These instruments offer the curious player not only exquisite sounds to enjoy but also thought-provoking areas for inquiry, be it aesthetics, the history of flute pedagogy and technique, or one’s own tendencies as a musician. Here’s to more seeking and learning in 2021—happy new year!
Featured image: Jacques Callot. The Dancers with a Flute and a Tamborine, from The Caprices, c. 1622. The Art Institute of Chicago.