# The Story of the Flute/Chapter 16

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CHAPTER XVI.
FLUTE IN AMERICA AND AUSTRALIA.
Early notices and players—Later players of foreign origin—Ernst—Introduction of the Böhm flute—Native American players—Kyle—Lemmone.
The flute has always been quite a popular instrument in the United States of America, and The American Musical Journal of 1834 mentions that theEarly Notices and Players amateurs of the flute in New York were numerous, and that many had attained considerable proficiency. In the eighteenth century the churches in Boston usually supplied the place of an organ by a flute, bassoon, and violoncello. The names of some of the early performers have been preserved. The Pennsylvania Gazette of 1749 contains an advertisement of "John Beals, music-master from London in his house Fourth Street, near Chestnut Street," as a teacher of both the German flute and common flute (i.e., Recorder), and specially mentions that he will attend young ladies at their houses: possibly the fair dames of Boston favoured the flute. In Philadelphia, James Bremner taught the German flute in 1763; and Ernest Barnard, George D'Eissenberg, and John Stadler played it in the principal concerts in that ​city at this period. Flutes were imported from Europe into New York by Peter Goelet (1773) and John Jacob Astor (1789), who lived in 81 Queen Street. In 1821, John R. Parker of Boston announced that he had a choice collection of fashionable music for the flute, and in 1823 Meline played the flute obligato to Bishop's Echo Song in that city, Mrs. Holman being the vocalist. In New York Italian Opera in 1825 the flute desks were occupied by Blondeau and P. Taylor, whilst Flotter (appropriate name!) was flute in the Park Theatre in that city in 1832. In 1839, Downe played Böhm's Introduction, Air, and Variations at the New York Euterpian Society's Concert in the City Hall, and there were on that occasion four flutes in the orchestra, whilst the oboes, clarinets, and bassoons only numbered two each. The scarcity of oboe-players in America at this time often necessitated the oboe parts being played on flutes, of which apparently there was no lack. In 1849, Edward Lehman played the flute part in Kalliwoda's Concertante for flute, violin, and violoncello at the Mendelssohn Quartett Club of Boston.
Many European flautists have from time to time settled in America. One of the earliest, Philip ErnstLater Players of Foreign Origin (1792-1868), a gunsmith, was born at Mentz, Hesse Darmstadt, Germany. When recovering from a serious accident his physician advised him to play the flute to exercise his lungs, and he actually gave lessons and played at public concerts whilst still on crutches. After acting as first flute in the theatre of his ​native town he made a tour of Germany and Switzerland with success. The composer, Winter, engaged him as principal tenor singer in the Royal Theatre, Munich. Going to Paris, Ernst was appointed first flautist to King Charles. When the revolution of 1830 broke out he visited England and succeeded Nicholson at flute in the Royal Italian Opera. Whilst in England he gave flute lessons to the Princess Augusta of Cambridge, Lord Brougham, Sir Robert Peel's daughters, and other distinguished pupils. Soon afterwards he settled in New York, and was one of theIntroduction of the Böhm first to introduce the Böhm flute into that city. This instrument had already been seen there, however, in the hands of a tourist named Brix, a South American, who had visited Europe. In 1846 a special musical committee was appointed in Boston to judge of its merits. The first Böhm flute manufactured in the United States was made by a Mr. Larribee. Felix J. Eben, another foreigner, became a leading player and conductor in New York about 1849. Carl Zerrahn (c. 1850), a native of Wurtzburg, who at one time played in Mapleson's opera orchestra and subsequently became first flute in the famous Germania orchestra and conductor of several leading musical societies in Boston; he is said to have been a marvellous sight-reader and a fine orchestral artist. Two of Böhm's pupils, C. Wehner (b, 1838) and Heind'l, settled in America. The latter became a leading player in Boston, and is reported to have possessed a very pure tone and good execution. He died of a disease ​contracted from an infected flute which a stranger had requested him to try. These men laid the foundation of the popularity of the Böhm flute in America. Others deserving brief notice are Eugene Weiner (1847-1903), born in Breslau, a member of the New York Philharmonic Club and Thomas' Orchestra; Charles Molé (1857-1905), a Parisian and pupil of Altes' at the Paris Conservatoire; Alfred Quesnel, born in Thuringia in 1869, who was first flute in the Berlin Philharmonic Orchestra, and subsequently became solo flautist in the Thomas Orchestra at Chicago; and Leonardo de Lorenzo (b. 1875), composer of some fine studies and solos, who has settled in New York as first flute in the Philharmonic Society. He is a native of Naples and studied at the conservatoire in that city.
The earliest native-born player of note was John Kyle (c. 1810-70), son of an English bassoon-player. During most of his career he played the old eight-keyed flute, and later on the Siccama model. Towards theNative American Players end of his life, he adopted a silver Böhm. Kyle was for many years a leading musician in New York. He filled the post of solo flute in the New York Opera and the Philharmonic Society. His tone was remarkably rich and sweet. Kyle accompanied Jenny Lind and Catherine Hayes in their tours through America, and subsequently performed at the Sontag Concerts. He is said to have played obligatos to the voice so skilfully that it was well-nigh impossible to tell which was voice and which flute. On one occasion when a prima donna broke ​down in a solo, Kyle took up her part and played it till she had recovered, for which he was much applauded. He was a handsome man with a peculiarly oval face and most charming manners. When dying Kyle requested that his silver flute should be placed in his hands and buried with him, which was done.
Another who gained a great reputation was Otto Osterle (1861-1895), born in St. Louis, of German parentage. He from time to time filled the post of first flute in Thomas' orchestra, and those of Seidl and the New York Philharmonic. He also was professor of the flute in the National Conservatoire in New York. When Patti visited America, Osterle played obligatos with her. He played on a wooden Böhm flute, and his taste and phrasing have been highly spoken of, whilst his tone is said to have been marvellously sympathetic and sonorous, especially in slow movements. Other prominent native-born American flautists were John S. Cox, of Philadelphia, a member of Gilmore's and Sousa's bands, and an excellent piccolo player; and Sidney Lanier, the poet-flautist (see p. 246, post). No native American flautist, however, has attained any notoriety outside his own country.
Australia has produced a remarkable flute-player—Mr. John Lemmone, who visited England some years ago and played with great success. Mr.Australia Lemmone, who plays the Radcliff model, has a fine tone and good style. He is gifted with a remarkable memory, and can play over a hundred solos without the music.