Accession #: 2005.56
Thomas Stanesby Jr. learned the trade of making musical instruments at his father's workshop. This is where Stanesby Jr.’s career took off and led to him becoming an independent maker of all types of woodwinds: recorders, flutes, oboes, and bassoons. Contra-bassoons were made by him for use in the London performance of Handel’s Water Music. Stanesby inherited a seal ring and his father’s tools in 1734 and continued to be active in the industry until his death in 1754. His trade card boasted:
“Stanesby Jun. In the Temple Exchange Fleet Street, London. Makes to the greatest Perfection, all sorts of musical instruments. In Ivory or fine wood; Plain, after a very neat manner or curiously Adorn 'd with Gold, Silver, Ivory &c. Necessary to preserve them; approv'd and recommended by the best masters in Europe. Sold as above and no where else."
That his musical instruments were made “to the greatest perfection” is attested by this late eighteenth century Baroque flute done by Stanesby which can be found in the collection at Wilton. It is made of wood and has ivory rings along with metal keys. It is marked “Stanesby, Jr.” and was determined to be an authentic eighteenth-century flute by Weschler and Sons, Inc. of Washington, D.C. The Randolph family entertained guests in their parlor with music as well as in the lower passageway. The musicians might have played their instruments, one of which could have easily been a flute, on the landing of the stairs as the Randolph family and their guests danced the night away down below.
La Barre and Other Musicians, c. 1710, André Bouys
The flute is the oldest woodwind instrument and dates back to the 9th century B.C. Most historians agree that the instrument originated in Central Asia. Baroque flutes of the 1600s were originally built in 3 sections, had seven tone holes plus a key hole for the little finger. Its shape has changed based on its air column’s shape. One historian explains that the “bore [air column] of the baroque flute was modified to a slightly tapered conical shape with the large radius at the embouchure hole [mouth piece] and the smaller radius at the bell end.” During the 18th century, the flute experienced even more modifications. One historian describes instruments during this time as being “often highly ornamental, sophisticated craftsmanship being applied to the thickenings left in wood or ivory to strengthen the sockets.” Improvement of the flute was being strived for during the eighteenth century because it was not producing tones correctly.
However, the weaknesses of the flute did not affect its popularity during the eighteenth century. As one historian stresses, “some of the forked sounds were dull and out of tune seems to have been philosophically accepted as a natural weakness of the instrument which it was the player’s duty to conceal by skilful manipulation.” Perhaps the flautists, who the Randolph’s might have had the pleasure of listening to, were able to do just that as the piercing notes of their music wafted out through the open windows into the night air.
If you have a musical appreciation like the Randolph’s be sure to check out the flute on your next visit. And look out for more information about our free summer concerts series, Jammin' on the James, where you and the family can enjoy music, games, crafts, face-painting, and tours of the historic house. See our website or follow us on Facebook for details on all of our upcoming events.
Bibliography
Bate, Philip. The Flute: A Study of its History, Development and Construction. W.W. Norton &
Company, Inc. New York, 1969.
Toff, Nancy. The Development of the Modern Flute. Taplinger Publishing Company. New York,
1979.
“Baroque Flutes: Thomas Stanesby, Jr”. Boaz Berney Historical Flutes. 18 July 2012.
“Flute”. 18 July 2012. <http://www.gbmsband.org/html/flute.html >
“Stanesby Family. 18 July 2012. <www.buyrecorders.com/stanesbyfamily.htm>.
“History”. 18 July 2012. <http://community.middlebury.edu/~beyer/s/history.html>.
“Intonation”. Dictionary.com . 31 July 2012.
Image Credit
http://www.nationalgallery.org.uk/paintings/andre-bouys-la-barre-and-other-musicians
As Stanesby Jr died in 1754, how is it possible that he made a "late eighteenth century" flute? As best one can tell from the photos this is a four-keyed (e-flat, f, g-sharp, and b-flat) instrument, which was only coming into use at the very end of Stanesby's life (the London maker Schuchart seems to have made [multiple-] keyed flutes as early as the mid-1750's; a keyed flute by Stanesby's student Caleb Gedney dated 1769 is one of the earliest such flutes extant). There are many surviving examples of Stanesby flutes, but the exterior turnings, among other construction details of this instrument, do not seem to resemble them. Perhaps someone with greater expertise could supply Wilton with a more accurate and pertinent assessment of this interesting flute. The comments about the tone and tuning of eighteenth century flutes in the above text is typical of Boehm ("modern") flute experts whose real knowledge of the playing possibilities of "simple system" flutes is quite limited.
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