(b Flint, MI, March 28, 1933). American organologist, curator, and tuba player. He studied tuba with Roy Benson and William Graves at Graceland University (1951–53), performed under william donald Revelli at the University of Michigan (BM 1955), and worked with William Bell at Manhattan School of Music (MM 1959). He also studied musicology with Paul Revitt at the University of Missouri, Kansas City (DMA 1969), where his dissertation focused on the D.S. Pillsbury collection of American-made brass instruments in Dearborn, Michigan. From 1961 to 1969 he was principal tuba player with the Kansas City Philharmonic and has since performed regularly on tuba as well as historical instruments including the serpent, the ophicleide, the saxhorn, and musical glasses. He served as curator of musical instruments at the Henry Ford Museum and Greenfield Village in Dearborn (1971–85), producing pioneering research and curating exhibitions of early 19th-century American woodwind and brass instruments, instrument makers, and performers. From ...
Sarah Adams Hoover
(b Wanda, MN, Dec 25, 1922; d New Ulm, MN, Dec 11, 2007). American maker and player of concertinas. Of Bohemian ancestry, he grew up listening to his mother, Anna Schroeder Hengel, sing German folk songs and popular tunes while accompanying herself on the organ. He was greatly influenced and inspired by concertina player “Whoopee” John Wilfahrt, also of Bohemian ancestry, whose recordings he heard as a child. At the age of 14 Hengel acquired his first button accordion, a mail-order Hohner factory-built instrument. He later switched to the Chemnitzer-style concertina (a bisonoric button instrument that sounds different pitches on the pushing in or pulling out of thee bellows). He never learned to read music instead playing entirely by ear. He performed with the Jolly Brewers Band and the Six Fat Dutchmen during the 1950s; he also played with Wilfahrt’s band. In 1953 Hengel acquired the entire contents of the Chicago factory of Otto Schlicht (maker of concertinas under the brand names Patek and Pearl), and in ...
[‘Doc’ Tate ]
(b Fletcher, OK, July 3, 1932; d Lawton, OK, March 5, 1996). Native American (Comanche) maker and player of juniper flutes. He attended the Fort Sill Indian School and Haskell Indian Institute. He learned flute making from the Kiowa maker Belo Cozad (1864–1950) and the Lakota maker Richard Fool Bull (1887–1976). He used the traditional method of splitting the wood, carving the channel, boring the holes, and inserting the plug, then gluing the flute back together with sap, binding it with leather thongs, and attaching the external block. His first album, Indian Flute Songs from Comanche Land (NAM 401C, n.d.), was the first commercial recording consisting entirely of music for solo Indian flute. He introduced new playing techniques, including cross-fingerings to extend the range, and extending the warbling sound on the lowest tone to all the available pitches, thus expanding the flute’s repertoire and contributing to its revival in the latter 20th century. Tate (the English name given to him) was recognized as a National Heritage Fellow in ...
(b Amatrice, Rieti, Italy, 17??; d Amatrice, Italy, 16–17 March 1804). Italian amateur flutist, composer, and developer of the flute. Orazi served as an army lieutenant in Naples and Spain and on retirement returned to Amatrice, on the northern border of the Kingdom of Naples. In 1797 he published a short treatise illustrating his invention and fabrication of a new type of transverse flute; printed separately at the same time were two ‘enharmonic’ trios he wrote especially for this instrument, incorporating themes by other composers. His aim was to make the flute more competitive with the violin by extending its range down to g; increasing the upper range and facilitating emission of high notes; and enabling it to perform quarter-tones so that portamento effects could enhance its expressive potential.
The instrument was essentially a normal concert flute in D (‘flauto corista’) equipped with four closed-standing keys (E♭, F, G#, B♭). To it was added an extension partly bent back on itself for more convenient positioning of the keys, allowing one to play chromatically from ...