page_title: Irish flute
section_title: Historical developments
hierarchical_section_title: Irish flute / Historical developments
caption_attribution_description: English: Charles Nicholson (1795-1837), Flautist and composer, appointed professor of the flute at the Royal Academy, 1822; soloist in many orchestral concerts; composed many works for the flute, oil on canvas, (762 mm x 660 mm)
context_page_description: The Irish flute is a conical-bore, simple-system wooden flute of the type favoured by classical flautists of the early 19th century, or to a flute of modern manufacture derived from this design. The majority of traditional Irish flute players use a wooden, simple-system flute.
  Although it is played in every county in Ireland, the flute has a strong heartland in the mid-western counties of Roscommon, Leitrim, Sligo, South Fermanagh, East Galway, Clare and West Limerick.
context_section_description: Despite the implication of this commonly used name, the Irish flute is not an instrument indigenous to Ireland. The simple system, conical-bore flute is what people played before the advent of the modern, Boehm system, Western concert flute in the mid-19th century. Simple-system flutes are usually made of wood (cocus, grenadilla (African blackwood), rosewood, ebony, etc.). There were several manufacturers of this type of flute, among whom was English inventor and flautist Charles Nicholson Jr, who developed a radically improved version of the transverse wooden flute. 
  From the latter part of the 19th century, there were two main styles of large-holed flutes made by two London-based companies: Rudall & Rose and later Boosey & Co., which produced the Pratten flute devised by Robert Sidney Pratten, a prominent flautist of the 1840s and 1850s. George Rudall was an amateur player of some importance who studied for a time under the junior Nicholson before teaching on his own. He was introduced to John Mitchell Rose in c.1820 and their long association began. The Pratten has wider bore dimensions and provides a bigger sound. The Rudall & Rose flutes had a reputation for having a darker, pure tone and slightly thinner than the Pratten style flute, but the firm made flutes of many styles, primarily in cocus wood and boxwood. Many of these original flutes had a foot joint that allowed the playing of both C# and C with the use of keys, typically pewter plugs that fit into silver plates. Some modern makers forgo the addition of these keys, but maintain the longer footjoint with two holes where the keys would be, as it is thought to better emulate the pitching and tone of the 19th century originals.
  Simple system flutes were not made with traditional folk musicians in mind, but were adapted by amateur flautists as the simple wooden flutes were discarded by concert musicians. Belfast-born flute-maker Samuel Colin Hamilton is of the opinion that military flute and fife bands, which were widespread in Ireland in the 19th century, played a role in familiarising Irish society with the flute as an instrument that could be used in dance music. Also, an upturn in the economic conditions in Ireland from the middle of the 19th century meant that more people were able to acquire instruments.
caption: Charles Nicholson with flute, 1834 portrait
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