Story of the Flute
from Rome, says:—"I heard a solo on the flute where the flute was more than a quarter of a tone too high; it set my teeth on edge, but no one remarked it, and when at the end a shake came they applauded mechanically." The Germans approach more nearly to the English style, but are too fond of technicalities.
Böhm has some interesting remarks on the various players of his day—"As to your question about GermanBöhm'sOpinion flute-players, I am sorry to say there is not one like Dorus or De Vroÿe, if I speak of perfection in every respect." He speaks of some of his German pupils as being very good orchestral players; "and I think about as good solo players as your London players, with the exception of Mr. Pratten, whom I like very much. . . . As to fine taste, I consider Dorus and De Vroÿe as first; as to tone, Ott, Krüger, and several others are superior. When De Vroÿe had played here many said to me, 'De Vroÿe is a very fine artist; but if we remember your tone and playing, he seems little and weak in comparison.' . . . As to playing in a grand style, I never heard anything like Nicholson and Tulou. They play now [1866] much more, but less in quality." Again in 1871 he says:—"De Vroÿe is a first-rate artist, but his tone is too small for London, where Nicholson is still remembered. I did as well as any continental flautist in London in 1831, but I could not match Nicholson in power of tone, wherefore I set to work to remodel my flute. Had I not heard him, probably the Böhm flute would never have been made. . . . All Nicholson's immediate
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