WARNING!!!  A BEAUDIN TRAVERSO MAY BECOME ADDICTIVE!!!!

I have had my new Beaudin traverso for two weeks, and I can say without hesitation that this is a truly extraordinary flute.

Jean-François has managed to create an instrument with a baroque flute sound, but without the associated baroque flute problems. All notes speak cleanly. Cross-fingered notes are no longer ultra-weak and “shadowed”, unless you wish them to be. Intonation is excellent in all registers. And the volume . . . wow!!

But here is the really good news – you get all of this volume without any loss of dynamic expression or nuance. You can play this instrument as quietly and expressively as you wish or you can push it and be heard in large venue tutti passages. The response feels like my modern flute’s Lafin headjoint – it will take as little or as much air as you wish to give it - but out comes a baroque flute sound – amazing!

Last season I had to play a baroque concerto on my modern flute, playing with a chamber orchestra using modern instruments at 440 pitch. Now I have to say that I play a good deal of baroque music on baroque flutes, so my familiarity with ornaments, style and phrasing is fairly competent. No matter how hard I worked, the modern flute just did not feel right or sound right to me (the audience liked it thank goodness). I felt that my ability to play the music expressively and “in style” was hindered by having to use a modern instrument. It made me realize the importance of using period instruments. Baroque music and baroque instruments were made for each other.

The Beaudin traverso, however, is a game-changer. Now you can have the benefit of volume and projection while still retaining baroque delicacy, phrasing and articulation. It is the best of both worlds.

I must mention too that Jean-François treats every customer like they were his only customer. Never before have I received this level of personal service and attention (and I have ordered quite a few baroque flutes and oboes).

The only downside to this flute is that you cannot claim it to be an 18th century copy. Come to think of it, I am incredulous that someone did not invent this marvelous instrument in the 18th century. Oh well, better late than never.

Scott Ireland
Miami, Florida.
March, 16th, 2011.