Verne Q. Powell - The Flutist

Verne Q. Powell

This week, we had the pleasure of corresponding with Verne Q. Powell's gradndaughter, Gail Powell Dearing.  She had written an article for the Winter 2013 edition of The Flutist Quarterly, detailing some very interested yet not widely known facts about her grandfather. In this excerpt, we learn about Mr. Powell's earliest days as a wind player...

Excerpt from "Second Wind: The Powell Spoon Flute at 102" (The Flutist Quarterly, Winter 2013)

By Gail Powell Dearing

It’s not well known that Powell was an accomplished flutist.  He started playing the ocarina when he was 8 years old, and at the age of 10, started a small fife and drum corps with a couple of his friends.  When he first heard a piccolo, he had to have one, so his brother bought him one for $3.40.  Powell said he shined his brother’s shoes for the rest of his life to repay him for the piccolo.  Then he expanded his group to six piccolos, six snare drums, and a bass drum; the group played at local ball games for the price of admission.

He bought his first Böhm flute when he was 17, and four years later purchased his “first good flute,” a Rundall-Carte wooden flute.  Largely self-taught, Powell had a reputation as a superior flute player long before he became better known as a fine flute maker.

Thus, his spoon flute was born of the combination of his skill as a jeweler and engraver with his love of music and facility with the instrument.

The "Original Crown"

This week, we met with Powell sales associate Daniel Sharp to talk about crowns.  In his travels to flute fairs, he has been asked if Powell still makes the "original crown" or "old crown." So, what exactly is the design of the "original" or "old" crown? We discovered it was quite different than many flutists may be picturing...

Daniel shared that Verne Q. Powell modeled his earliest flute crowns after the Louis Lot crown.  In the photo below, we see the crown from Louis Lot #6412, made in 1898:

Photo courtesy of National Music Museum.

Taking a look at Powell #4, we can see the similarity:

However, many flutists are familiar with a style of Powell crowns with two knurled rings, as shown in the photo below with Toshiko Kohno, former principal flutist of the National Symphony Orchestra.  Her flute was made in 1969.

Although we do not have an exact date for when Powell began using this two-ringed design, we can tell that the design dates at least as far back as 1938.  In the photo below on the far left, we see a headjoint from 1938 with a lip plate engraved by Verne Q. Powell.  To the right of this headjoint are two recently made Powell Signature headjoints.  This two-ringed design is currently used on all Powell Signature headjoint crowns.  It is the design that most people are familiar with and consider to be the "original" or "old" crown.

However, in the photo below, we see a Powell silver crown that is currently made for Powell Custom headjoints.

The final photo below shows the current silver Custom crown next to a current Signature crown (on the headjoint).  You'll notice the difference in the two crowns.  The current silver Custom crown resembles the earliest Powell crowns, and the Signature crown resembles the crown with two rings that many people recognize and consider to be the original design.  So, the answer is clearly, "yes!"  We still make the "original" style crown...

Profiled Piccolo Headjoint

In 1993, Powell introduced a new piccolo headjoint with a "profiled embouchure plate to help provide greater comfort for flutists switching back and forth from flute to piccolo."  This headjoint style was named the "Profiled" headjoint and is one of three piccolo headjoints offered today (Profiled, Wave, and Classic).  Powell's Director of Service and Quality, Rebecca Eckles, spent many years performing professionally on flute and piccolo.  She shared that the Profiled headjoint definitely allows for a "more comfortable transition from flute to piccolo."

Flute finisher Lindsey McChord also cuts headjoints for Powell, and you may remember her name from previous posts -- especially last week's post about cutting wooden flute headjoints. She told us more about cutting the Profiled piccolo headjoint, highlighting its similarities to the wooden flute headjoints, which also have a "profiled" lip plate.  The Profiled piccolo headjoints, just like the wooden headjoints and other piccolo headjoints, are all made from one piece of wood.  Lindsey begins cutting a Profiled piccolo headjoint exactly the way she would for a wooden flute headjoint -- by filing the lip plate until the wall is the correct height. She also uses a gauge on the outside of the lip plate to make sure she has the correct angles for the front and back angles.  After that, she continues cutting and filing as she would with the wooden flute headjoints.  For wooden flute headjoints, there are metal versions of these styles (Soloist and Philharmonic).  One difference between wooden piccolo headjoints and wooden flute headjoints is that there are not metal versions of the three piccolo headjoint styles.

We realize that Lindsey wears many hats in terms of cutting headjoints and finishing flutes, but we know she is also a flutist. So, we asked for her thoughts on the Profiled piccolo headjoint from the player's perspective as well.  Lindsey noted that because of its profiled lip plate, it may be more comfortable for flutists who don't play much piccolo.  She said that often times with other piccolo headjoints, flute players may need to spend time rolling in or out to get the headjoint in the right spot.  With the Profiled piccolo headjoint, she said that one does not have to adjust.  She said, "You can pick up the piccolo, and the headjoint is right where it needs to be."

Piccolo headjoint styles.  Left to right: Classic, Wave, Profiled.

From the Beginning -- the Earliest Powell Flutes

Flutists have many choices when it comes to Powell flutes today, but what about the very first Powell flutes?  If you have wondered what options were and models were available, we went into the archive to find out...

Looking through historical documents, we found a brochure from 1930.  At the time, Powell offered two models of C flutes with the following specs:

1 - the Handmade Louis Lot pattern with thin wall tubing, soldered tone holes, open or closed key cups, and open or closed G#
2 - the Commercial model with 0.18" heavy wall tubing, drawn tone holes, open or closed key cups, and open or closed G#

Handmade models came in silver, 14k gold, and platinum and had options that could be added as requested, such as French pointed arms and a left hand low B lever.  In the 1930s, the gizmo key was developed by Powell and added as an option as well.  From the beginning, all Powell flutes were pitched at A-440 unless ordered otherwise.  During the time period from 1930 to 1941, flutes pitched at A-442 were produced for leading players, including Bladet, Madsen, Pappoutsakis, and Opava.  In addition to the standard models, Powell did produce a few unique items in 1929: a bamboo flute, an octave piccolo, and a piccolo with a low C.

So, how much would one of the very first Powell flutes cost?  Well, in 1930, the Handmade silver models were $250 for the "French model" (open keys) and $240 for the "American model" (closed keys).The Commercial models were $200 for the French model and $185 for the American model.  In the photo below, you will see a price listing from the 1930 Powell brochure.

Excerpt from Verne Q. Powell's Autobiography

The following brief autobiography was hand written by Powell himself. Its transcription reveals Verne’s interest in flutes from an early age, and his ingenuity and determination to craft instruments.

Verne Q. Powell learned to play the ocarina at 8 years of age.  At 10 he graduated to the fife and started a drum corps with Bert Anthony (a nephew of Susan B Anthony, the founder of women’s suffrage) and Ron Bates, the best drum major he ever knew.  His baton was a croquet ball on a broom handle.  This was the fall of 1888, the Harrison-Morton campaign, and this trio snuck out evenings and paraded down town on Sat evenings to the amazement of the public.

About this time an older friend took him to hear the first Edison record machine because it had a piccolo record, so now it had to be a piccolo, so older brother Will went to Lyon & Healy and got a six keyed piccolo which cost $3.40 and Verne says he shined his brother’s shoes for the rest of his life to pay for the piccolo.  Then he organized a real drum corps of 6 piccolos, 6 snare drums, bass drum and the same drum major.  They played for all the ball games, etc., just for admission.

At 14 he was learning to make jewelry with his older brothers and he made a 6 keyed piccolo from a piece of a brass chandelier which he could play.

When 17 he bought his first Boehm flute from an Elkhart firm, paying for it on the monthly payment plan and using it as best he could.

At 21, he bought his first good Boehm flute, a Rudall-Carte wooden flute, from Wm. S. Tipton (father of Albert Tipton, now 1^st flute with the Detroit Orchestra). 

About 1910 he went to Chicago to take some lessons from Alfred Quensel (1^st flute with Theodore Thomas) and while there heard for the first time George Barrére with Damrosh.  Barrére played on a silver flute which was then called “tin-whistle” but Verne was so thrilled with his playing that he made up his mind to make a silver flute for himself.  So when he returned to his home in Fort Scott, Kans, and his brothers jewelry store, he proceeded to gather up the scrap silver which consisted of 7 teaspoons, 3 silver watches and some plugged silver coins, melt them down and make a silver “tin-whistle” for himself.  He has it now and always will keep it.  It is a rather crude affair but it plays well and many have played and liked it.

It was this event that eventually brought him to Boston with the Wm. S. Haynes Co.  He was with them ‘till 1926 when he left and started in for himself.

Being a talented flutist with his creative ability in working precious metals, he has been able to produce flutes of silver, gold and platinum for the world’s greatest artists.

Building the White Gold Flute - Part 1

Entering the order

As we prepare for the 2014 NFA Convention, we'd like to highlight the process of building a flute -- but not just any flute.  In fact, we are building a 14k white gold Powell Custom with 14k rose gold keys specifically for this year's Convention.  In our series of posts, we will follow the white gold flute from start to finish!  Recently, we discovered letters of correspondence between Verne Q. Powell and Fritz Baker.  Baker was the former principal flutist with the Denver Symphony and owner of Powell #900, the only completely white gold flute made by Mr. Powell.  Click here to read a previous post on the color of white gold and here for a detailed post on Mr. Baker's white gold flute.

The process of building a Powell flute begins with a sales order being entered into our computer system.  The order specifies the details and specs of the flute, and then a work order is generated.  The work order follows the flute along every step as the flute is being made

In the videos below, we see the next two steps that take place after the work order is generated.  First, materials must be inspected.  Then, the body kit and stringing kit are put together.  We visited the materials area of the production floor to film the following videos of the materials inspection with Materials Manager, Dawn Rothwell-Mann, and assembly of kits with Materials Coordinator, Helen Power.

The One and Only White Gold Flute

By Steven Wasser
President, Verne Q. Powell Flutes, Inc.

In 1949, Verne Powell wrote the following: “I consider this flute the finest thing I’ve ever created.  The gold is much harder than yellow gold or platinum and has a 'ring' and brilliance I’ve never heard in my flute.”

Those were strong words from a master craftsman about Powell flute #900.  His words were addressed to Fritz Baker, principal flutist with the Denver Symphony at the time, and Powell was describing the performance characteristics of a flute made entirely of white gold.  In another letter to Baker in January 1950, Powell wrote, “There never has been a finer flute made – but as far as we are concerned, there will never be another like it.”

What happened?  Apparently, Powell had always wondered what a white gold flute would sound like.  In his view, the hardness of white gold “should make a splendid instrument.”  To satisfy his curiosity, Powell produced a flute with 14k white gold body and keys on speculation.  Flute #900 was the result.

The problem was that the same qualities which produce an especially rich sound from white gold make it very difficult to fabricate.  In that same letter to Baker, Powell explained, “The metal is incredibly tough to work, and we had plenty of headaches, including darn near ruining every tool in the shop.”  How tough?  At Powell, we use 10k white gold mechanism tubing as a substitute for sterling silver in certain applications where we want to make sure the flute keys stay in adjustment.  When we ream the white gold, the steel reamer smokes on its way through, even with plenty of lubricant added.

Back in 1950, Baker went on to buy Verne Powell’s one-and-only white gold flute and record with it.  Today, Fritz Baker is 94 years old and retired from his illustrious career.

In one of Powell’s letters to Baker, he speculated, “We might some day make a flute with a white gold tube and all silver mechanism, as it was the [hardness of the white gold] mechanism that presented the real problem.”  Today, Mr. Powell’s speculation is reality.  Powell offers 14k white gold flutes with a sterling silver, 10k yellow gold, or 14k rose gold mechanism.  Here’s a photo of one we just finished with a white gold body and 14k rose gold keys.

The pricing for the 14k white gold flutes is the same as for 14k rose gold flutes, and they are available for trial.    

The Signature

The Powell Signature flute is one of our most popular, and after speaking with our Marketing Manager, Christina Guiliano Cobas, we discovered that the Signature planning began in 2001.  It went through a few variations, but the Signature we know today was finally launched in 2003.

The concept behind the Signature design was that of a quality, handmade flute at an affordable price. The original brochure stated:

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Over the years, we have heard many stories of flutists who yearn for a Powell flute but are frustrated by the high cost of our Handmade instruments.  They have asked for our design and sound.  They wanted the flute to be reliable and affordable.  Most of all, they wanted a Powell.

And so we took the challenge.  The flutemakers and engineers who work on our Handmade models collaborated to design a new flute.  We realized that advanced technology was the only way we could make a flute in Boston, to Powell quality standards, at an affordable price.  Fortunately, our designers are creative, and we are located nearby some of the most sophisticated technology in the world.

The result is our new Signature Flute, made at Powell's Maynard headquarters just west of Boston.  It is crafted with proprietary technology that produces amazing quality.  We are so proud of this entre into the Powell family that we have put the Powell "Signature" on it.  For three-quarters of a century, the name "Powell" had meant quality in flutes.  It still does.

Original Signature brochure

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Legend has it that Verne Q. Powell melted down his wife's silverware to make his first instrument, known as the "spoon flute."  From that first silver flute to our latest models, we have retained the key performance features of Powell's custom handmade instruments.

The Modern Powell Scale, pitched at A-442, plays in tune and is characterized by beautiful timbral balance.  The G "disc" allows for secure forte attacks on E-3.  All Signature headjoints are hand cut by professional flutists.  Flexibility, color, and projection are the hallmarks of the Signature Flute and its Powell ancestors.

We have used only the best materials for the Signature Flute:

• Sterling silver headjoint
• Sterling silver body tubing
• Sterling silver mechanism
• 10k gold springs
• Split-E option
• Straubinger pads
• Butternut wood case
• Leather case cover

Today, the Signature is just as it was described in the original brochure -- with the exception of a cherry wood case now (rather than butternut).  Today's Signature is available in a B foot (with gizmo) or C foot, with an offset or inline G, and with options of a split-E, C# trill, and 14k riser on the headjoint.  The Signature is still pitched at A-442, although A-444 is available on request.  Click here to visit the Signature flute page on the Powell website.

Signature barrels in production

Signature bodies in production

Current Signature case (made from cherry wood).

75th Anniversary Flute

When we stopped in to the repair office this week, our technician had one of the 75th Anniversary flutes in for a COA -- so we thought it would be a good opportunity to share more information on these flutes.  Powell Flutes celebrated its 75th anniversary in 2002, and in honor of the landmark, offered limited edition "75th Anniversary" Custom flutes.  There were a total of 25 anniversary flutes made.

For this special edition, customers had the option of sterling silver, Aurumite 14k, 14k gold, or platinum bodies. Mechanism materials and other options were consistent with today's Custom flutes, which you can see by clicking here to view our online spec chart.

The 75th Anniversary flutes did have several special features including gems, special engraving, and anniversary ring designs.  Silver flutes came with a ruby inset in the upper barrel ring and crown.  Aurumite, gold, and platinum flutes had a diamond inset in the upper barrel ring and crown.  All flutes had the 75th anniversary logo engraved on the barrel and the 1930s style flat anniversary rings.  An additional feature that was optional on 75th Anniversary flutes was a special lip-plate engraving, described as "Anniversary style lip plate engraving, a brilliant realization of a 1930's Verne Q. Powell original."  Each flute also came with its own Certificate of Authenticity, which listed the flute's complete specs and was signed by Powell President, Steven Wasser.  The anniversary flute we spotted in the shop was silver, as you will see in the photos below (along with an example of the lip plate engraving).

75th Anniversary lip plate engraving

75h Anniversary silver barrel with ruby inset, Anniversary logo, and 1930's style flat rings

75th Anniversary silver crown with ruby inset

Closer view of the crown

Side view of the crown (which also had the 1930's style ring)

A Look Back at 1987

1987 was a very special year for Powell as it marked the company's 60th anniversary.  It also brought about a change in leadership as Steven Wasser purchased the company.  Wasser became the company's President, which is the position he held from that year to the present.  Looking through our archives, we discovered the brochure and pricelist from 1987, which Mr. Wasser told us was the very first one he designed.

So, what products were available 26 years ago?  There were flutes, piccolos, and headjoints -- each with different options.  For flutes, one had the option of a Custom flute or a Conservatory.  The Custom flutes were the "7000 Series" Handmade flutes.  They were available in sterling silver, Aurumite™ I, Aurumite™ II, 9K gold, 14K gold, 18K gold, and platinum.  The Conservatory flutes were sterling silver and had standard features of .018" tubing, drawn tone holes, and Y arms. 

There were two models of piccolos and two styles for headjoints.  For piccolos, the "Traditional" and "Contemporary" models were both made from grenadilla wood and had sterling silver mechanisms.  The Traditional model had a cork-fit tenon joint, and the Contemporary model had a silver-to-silver tenon fit.  The Contemporary model, similar to today's Custom piccolo, had hard rubber bushings inset to each tone hole.  Headjoints were available in the Standard Model and Modern Undercut styles.  The Standard headjoint was patterned after those made by Verne Powell late in his career, and the Modern Undercut had a smaller embouchure hole with slight undercutting on the sides.

Aside from the product offerings, we can also see from the brochure that the Powell company was located in Arlington, Massachusetts.   The 1987 pricelist and brochure are featured below:

Outside of the tri-fold brochure:

Inside of the brochure: