Wenner-Flöten, Singen Germany
Joannes Hyacynthus Rottenburgh (1672 – 1765) A392/400
This is a copy of one of the earliest models of a four-joint baroque flute. It only plays at the low pitches of A=392 and A=400 facilitated by interchangeable left-hand pieces.
Pierre-Gabriel Buffardin “Le Fils” (1693 – 1768), A415
This is a copy of a baroque flute featuring excellent versatility and a secure high register relative to other models of baroque flutes. Read Martin Wenner’s thoughts about this flute.
Karl August Grenser (1720 – 1807). A415
This is a copy of a flute from the early classical period and is appropriate for CPE Bach and Mozart but is often useful in earlier repertoire when a more penetrating sound is needed.
Karl August Grenser (1720 – 1807). A430/440 1-key, A430 6-key
This is the identical early classical flute but at a higher pitch level and with interchangeable middle pieces that have extra keys. The keyed setup is appropriate for Beethoven and Mendelssohn but is often useful (arguably anachronistically) in Mozart and Haydn.
From the workshop of “S. Koch” dated 1835. Stephan Koch (1772-1828) A435-440 9.5-key
This is a copy of a significantly later flute from the romantic period at a higher pitch level featuring a metal-lined head joint and a larger oval-shaped embouchure hole. I mostly use this in symphonic works by Brahms.
Martin Wenner A415/430
This piccolo is Martin Wenner’s original design. In my opinion it plays a lot like the Grenser flute and is useful in a wide range of repertoire from Rameau to Rossini. I own two of them each with two head joints of different size so they can be played as a matching pair at the standard pitch levels of both baroque and classical repertoire.
Martin Wenner A415-440 5.5-key
This piccolo is also Martin Wenner’s original design. While it could be used in classical repertoire I prefer to use it only in later romantic repertoire such as Brahms’ Symphony #4 and German Requiem.
