Story of the Flute
sequence of his rapid enunciation and tours de force. He was physically a great contrast to Nicholson, beingRichardson a remarkably small man. For many years he was solo flautist in Jullien's band, and afterwards in Queen Victoria's private orchestra. He played at the Philharmonic Concerts in 1839 and 1842. Richardson is said to have practised all day and almost all night, and acquired a marvellous dexterity. He had an exceptionally fine embouchure, but his tone, though brilliant and very "intense," was hard, small, and thin. He is said to have been "cold" in slow movements. On one occasion Richardson and Nicholson played the same solo—Drouet's "God Save the King "—at two rival concerts on the same evening in Dublin.
Richardson was succeeded at the Academy by John Clinton (1810-64), an Irishman, who was one of theClintonand
Pratten first to teach the Böhm flute in England. Though his tone was coarse and his tune defective, he was for many years first flute in the London Italian Opera, where he was succeeded in 1850 by Robert Sydney Pratten (1824-68), who also took Richardson's place in Jullien's band when the latter retired. Pratten, who was self-taught, played all over Europe with applause. He had a great objection to extra shake-keys, and would not have the one to shake C♯ D♯ on his flute. Sir Julius Benedict was once conducting a rehearsal of an overture of his own which contained this shake as a rather prominent feature. Pratten shook C♯ D♯ very rapidly, and Sir
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