Workshop
We are specialists with more than 20 years’ experience of assessing and restoring Rudall Carte flutes, particularly those handmade at the Berners Street workshop during the company’s golden era from 1878 to 1958. We dedicate as much time as each instrument requires, whether for a service or a complete restoration. And because every Carte is the unique hand-crafted work of a single flutemaker, passed down through generations of players, each commission that we accept receives a bespoke approach tailored entirely to that instrument.
We began working on Rudall Cartes in 2003. Since then we have worked on several hundred for players in every part of the world, and have been pleased to witness their return to popularity in orchestras, chamber and period-instrument ensembles, traditional sessions, and simply for pleasure at home.
We are always keen to preserve a flute's identity and integrity. This is particularly vital for classic Rudall Cartes. With each job a balance must be struck. Our well-stocked spares cupboard allows us to replace like-for-like tubing, keys, steel rods, etc. Because each flute is different, we usually have to adapt a spare part to fit. If necessary we have the facilities to make new parts. Cleaning is meticulously carried out by hand in order to avoid damage and to preserve patina. Padding is done in the traditional way by floating on shellac. Where appropriate we make and fit keycup inserts to improve consistency, though these are not permanently fixed.
RESTORATION:
This is often for a flute that was put away many years ago because its owner could no longer get it to play or behave itself. Our aim is to restore it as far as possible to as-new playing order without losing character or patina. This requires the replacement of any parts that are worn, either with genuine Rudall Carte spares or parts made by us in our workshop to the same standard. The flute will sometimes require complete disassembly. Then we put the mechanism back together and bring the flute back to life.
RECOMMISSION:
This is suitable for flutes that have not been used for a long period but which are generally in good condition and aims to bring them back to life without major intervention. We address problems of wear, damage, old repairs, and then repad.
OVERHAUL & REPAD: This is appropriate for a flute that is already in very good condition and has been regularly maintained, but where the pads, corks, etc have reached the end of their lives, and the mechanism is a bit slack and lazy. The flute is disassembled and any faults remedied. Then we fit all new ancillaries, such as springs, pads, and corks.
SERVICE: A standard service on a flute that has been regularly played and maintained will see the flute disassembled, cleaned, oiled, and regulated. We recommend this be done every two years.
Prices
Restoration: Price on application
Recommission: from £1200
Overhaul & repad: from £800
Service: from £250
CONDITION REPORTS
We are happy to provide a comprehensive condition report on a Rudall Carte flute. With our knowledge and archives we will accurately and impartially consider every aspect of the flute, including detailed assessments of mechanism, keywork, body, headjoint, padding, old repairs, existing faults, and changes to the original specification that may affect playing order, and any further information and provenance we may be able to offer. The price of a condition report, which is only available to UK customers, is £72 + £20 return postage.
This Rudall Carte was made in 1907 for the great Italian flautist Alberto Veggetti, then resident in London and playing in the orchestra at Covent Garden. It is the work of Eugene Goulliere, one of Carte's finest craftsmen who as usual marked his handiwork with scroll clutches. Veggetti's specification followed that of contemporary Italian makers, with open holes, B-foot, an extra lever and touch for LH4 Eb or C sharp, and another for RH1 G sharp. These allow for a variety of alternative fingerings.
The flute came to us from Argentina, where Veggetti worked for some years at the Teatro Colón in Buenos Aires. The mechanism was in poor condition, so we rebuilt much of it on replacement Carte silver tubing and reinstated the RH G sharp lever. Its new owner matched it with one of our Haswell silver-lined head joints, which suits this flute's big character.
RUDALL CARTE was the Rolls Royce of flutemakers. Their flutes were the obvious choice of all professional and good amateur players in Britain, Australia, South Africa, etc., and were also popular in Italy, Germany, and the USA. Rudall Carte's seven-year apprenticeship scheme produced many fine craftsmen, augmented by established makers attracted from abroad. There was no division of labour, so each flute was the work of a single craftsman and reflected his character within the parameters of the Rudall Carte design, overseen by a foreman who demanded the highest standards.
Increasing demand for wooden flutes has brought a new focus on Rudall Carte. Their scale was based on Boehm's original measurements, giving their flutes excellent intonation, particularly in the top register. They used the finest cocuswood, considered the best wood for wind instruments but now unavailable.
Today mass-production and computerised manufacturing may have changed the flute market, but in turn we have seen an increasing appreciation for the individuality and superb quality of these handmade flutes. Indeed, our customers play them in orchestras, chamber ensembles, recitals, and at home for their own pleasure. And the music that sings from their Rudall Cartes ranges from classical to contemporary, from traditional to jazz.
We were delighted to work for several weeks on this rare Rudall & Rose, one of the first made to Boehm's original design between 1843 and 1847. The tuning slide is a hangover from 8-key flutes and allows a range of pitches. It had languished in a cupboard for 75 years. We rebuilt some of the keyword including the G sharp. The flute plays with good intonation at A=440. The case by Chris Raven is a careful reproduction of the original.
This early Carte-system silver flute dates from the mid-1850s. The silver tubes, keys and touches are remarkably light and thin, characteristics that were already lost by the 1860s, perhaps because they proved vulnerable to damage. Another feature of this early version is the inversion of the footjoint touchpieces.
This example has survived remarkably well. Intonation is very good at around A=446. We needed to solder back tonehole saddles, rebuild some keywork, and restore the footjoint strap and posts. Now playable after several decades, the flute has a sweet lyrical voice, and the Carte-system is straightforward and makes a lot of sense.
