William S. Haynes
Serial # 23950; Boston; 1954; 14k body & mechanism; sl
635mm; 464g; .0105"h .010"b
What can I say? This instrument was made for Frederick Wilkins (for
whom Donald Artley named his professional Wilkins Model flute). Fred
Wilkins often played for RCA Records and the Firestone Hour radio show
in addition to being principal flute with the New York City Opera (c.1950-57)
and at Radio City Music Hall. The flute later passed on to Trudy
Kane of the New York Metropolitan, who had John Fuggetta make a new (which
of course does NOT equate to "modern") headjoint for it in 1989.
She comments, "I've always played Haynes flutes because their quality is
unsurpassed. My gold Haynes is without a doubt the best flute I've ever
played."
After receiving a gold Haynes
during his first U.S. tour in 1958, the late Jean Pierre Rampal played
them exclusively -- even relegating his legendary gold 1869 Louis Lot to
the security of a safe in France.
This particular flute left
the Haynes shop three months to the day after I was born, and I only wish
the years had been so kind to me. Thanks to careful maintenance it
is as beautiful in appearance, as precise in action, and as rich in timbre
as the day it was made. You can push the bottom notes until pants
legs start flapping in the front row.
I'll let a few images speak
for themselves, low resolution though they may be.
What can I say? This instrument was made for Frederick Wilkins (for
whom Donald Artley named his professional Wilkins Model flute). Fred
Wilkins often played for RCA Records and the Firestone Hour radio show
in addition to being principal flute with the New York City Opera (c.1950-57)
and at Radio City Music Hall. The flute later passed on to Trudy
Kane of the New York Metropolitan, who had John Fuggetta make a new (which
of course does NOT equate to "modern") headjoint for it in 1989.
She comments, "I've always played Haynes flutes because their quality is
unsurpassed. My gold Haynes is without a doubt the best flute I've ever
played."
