Rampone 1462 box engravingOval embouchure with floral engraving

A. Rampone & B. Cazzani & Co.
Serial # 1462; Milan; 1930(?) Model 570(?); silver plated(?) body & mechanism, soldered; sl 643mm; 555g; .012"h .0135"b

The Rampone family flourished as instrument makers in Milano from the 1850's and, in 1879, became the first Italian maker of Boehm flutes. In 1912 Egidio Rampone went into partnership with Battista Cazzani, soon marrying his daughter.  Following Cazzani's death in 1920, the firms merged into "Ditte riunite A. Rampone e. B. Cazzani e . C."  (New Langwill Index by William Waterhouse, publ. Tony Bingham, London)

Previous owner was a sax player who found the flute in an antique store and had it repaired to double on.  Too few gigs called for flute, so he sold it. With a little adjustment and repair of a leaking solder join, the instrument plays quite nicely, albeit it is a bit of a challenge to bring it up to modern concert pitch.  The very circular embouchure makes for a sweet upper range but requires technique to bring out the bottom end.
Two keys for L4, four keys for R1....
This instrument came with all the optional gewgaws a flutist could dream of.  Note the split-E, the R1 G# trill touch, and the R1 B-C trill touch in the image above (the C# trill is not shown, although the steel can be seen).  But the most flagrant by far is the added L4 touch adjacent to the G# key, which carries to a remarkable double-clutch mechanism on the footjoint.

L4 touch to footjoint
R4 clutched to C# and B shake position
Here the clutch is connected to the foot mechanism which trills the C# and B keys (for those hideous B-C and B-C# trills).  Rotate the foot slightly to connect the clutch for an alternate D# fingering (which handles the horrid C#-D# trill).
Vented footjoint tenon
Here the footjoint is slid back to reveal the long tenon with an oval opening to allow venting of the D# in both trill clutch positions.
When unscrewed to adjust the cork, the crown turns out to be a bit of a surprise as well.  Instead of the ornamentation being entirely on the crown, it begins with the end of the headjoint body, which has been formed into a beaded ring to exactly match the corresponding beading on the crown. Hey, why not? Decoupage case detail
We can safely assume this flute appealed to someone with a love for gadgetry -- despite the thinness of the tubing, possibly someone with servants to help hold the flute up during performance.  A cool flute, if embarrassing to carry around since at some point the very worn in-line case got "beautified" by a child or ladyfriend with a hankering to decoupage....
Most of the company records did not survive WWII.  A hearfelt thanks to Giuseppe Buscema for his great detective work in tracking down old Rampone catalogs through Claudio Zolla in Milan!  For those interested, this flute appears identical to the Model 570 advertised in their 1930 catalog (as well as the Model 412 in their 1928 catalog; and very little changed from the "Rudall-Carte" Model 342 in their 1908 catalog).  Also thanks to Jim Gleason at Old World Music for his "adopt a flute" assistance in restoring this instrument to playing form!

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