A SUPERB SOLID SILVER FLUTE FROM THE VERNE Q. POWELL WORKSHOP, PRE-WASSER ERA, “HAND-MADE CUSTOM” SERIES, SOLDERED TONE-HOLES, WITH BRANNEN-COOPER SOLID 14K RED-GOLD HEAD SECTION.
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Solid silver flute from the Verne Q. Powell workshop, “Handmade Custom”, serial number 3289, soldered tone-holes, in-line G, B foot, WITH BRANNEN-COOPER 14K SOLID GOLD HEAD SECTION.
Verne Powell sold his small flute workshop in 1961 to a quartet of long-time workers: Ed Almeida, Ed Machon, Richard Jerome and Elmer Waterhouse. From that time until the 1986 purchase by Harvard MBA-graduate Steven Wasser, the Powell company was dedicated to building flutes of the highest quality. In the pre-Wasser years, only two models were produced: the “Handmade” and the so-called “Commercial”, the former based on the classic French instruments of the previous century and the latter loosely patterned after the work of Theobald Boehm.
Handmade Custom” models (as they are called today) were considered “top of the line”, with soldered tone-holes, key arms extended over the pad-cups and without stack-key adjustment screws. The Commercials were built with flat pad-cups and wore adjustment screws. And the tone-holes were always extruded from the body tube.
Sounding length is 634-635 mm (A : 440) and the embouchure i 10.2 X 11.7 mm. The flute body weighs 346 grams.The solid 14 Karat gold head section weighs 90 grams.
The instrument is absolutely magnificent, the best of the best and far superior (our opinion) of any of today's Powell flutes.
New “suggested retail” price is now just a few dollars below $18,000 (silver flute, body and foot alone) plus some $12,000 for a new 14K Brannen-Cooper head.
*** OVERSEAS "hand to hand" delivery might be possible....to avoid shipping damage.
***It might be interesting for flutists to read a bit of business history that our firm enjoyed during the “Wasser years” with Powell. Opinions expressed herein are only mine and do not reflect the quality of the superb musical equipment now being produced by Powell.***
After thirteen years with the Boston W.S. Haynes establishment, Verne Powell founded his own firm, located but a short distance from his previous employer. From the beginning, the miniscule shop was devoted to the production of a limited number professional-quality flutes of the highest quality.
Two models were offered to the musical community: the so-called “Handmade French”, based on the Paris instruments of the Louis Lot workshop and the flute we now know as “Commercial” models, patterned on the work of Theobald Boehm and William S. Haynes.
“Handmade Custom” models (as they are called today) were considered “top of the line”, with soldered tone-holes, key-arms extended over the pad-cups and without stack-key adjustment screws. The Commercials were built with flat pad-cups and wore adjustment screws.
Verne sold his small shop in 1961 to a quartet of long-time workers: Ed Almeida, Ed Machon, Richard Jerome and Elmer Waterhouse. From that time until the 1986 purchase by Harvard MBA-graduate Steven Wasser, the Powell company continued to create flutes of the highest quality. In the pre-Wasser years, only two models were produced: the handmades and the so-called commercials.
Steven A. Wasser, a clarinet player with an MBA degree from Harvard, acquired control of the company in 1987. Wasser introduced many new ideas and models, some of which were (in our opinion) brilliant and others (also in our estimation) were not.
The “2100” model replaced Powell’s “Commercials”, the former made entirely in Boston and with (as we called it) “Danish Modern” keywork. The flutes looked modern, were competitively priced and played quite well. Regretfully, production ceased a few years later.
2002 saw the introduction of Wasser’s “Conservatory” model flutes. Designed, as the name states, for advanced students. We quite like these instruments which, I believe, are still in production.
I’m not quite sure why Mr. Wasser next came up with the “Signature” model flutes, but I do recall conversations with him in which I questioned the difference between the Signatures and the Conservatories. In any event, there was quite a difference in price between the two models. We did discuss the keywork between the two models and I vividly recall a conversation about the source of those parts that Steven was using on the Signatures. I don’t think I ever got a candid answer to my concerns.
In any event, the flooting public should be informed that the best Powell models in those years were (top to bottom and by price) the “Handmade Custom”, the “Conservatory” and the “Signature”. On-line postings today sometime confuse these three models. The looks are, of course, similar.
The introduction of the Sonare flutes, confused clients even further. I was disappointed that Steven had elected to use the same Powell name of the Sonare instruments. I had, still have, no major issues with the Sonares, did mention to Steven that I thought it ill-advised to use the name of a ( previously ) professional instrument on those flutes marketed for student use. But that was only my opinion and our Mr. Wasser pretty much ignored the same.
And that’s enough said about my early contact with Steven. Powell is now owned by Buffet-Crampon and high-quality instruments are still being produced by them. My short essay on the various models are to hopefully educate internet buyers on how the early Powell-Wasser flutes compared to each other.
***GR/Wichita
HG
*** THE ACQUISITION of any pro-quality flute is a very personal decision. And if there are too many variable, the musician is easily confused and frustrated.
Which means we invite you to pay us an in-person visit. Wichita’s close to almost everything and a day’s flooting in our shop means you’ll have above four artist-quality flutes (soon to be five), all with French keywork, B foot and solid gold lip, to test.
We’ll be delighted to welcome you!