Page:The story of the flute (IA storyofflute1914fitz).djvu/256

 from an infected flute which a stranger had requested him to try. These men laid the foundation of the popularity of the Böhm flute in America. Others deserving brief notice are Eugene Weiner (1847-1903), born in Breslau, a member of the New York Philharmonic Club and Thomas' Orchestra; Charles Molé (1857-1905), a Parisian and pupil of Altes' at the Paris Conservatoire; Alfred Quesnel, born in Thuringia in 1869, who was first flute in the Berlin Philharmonic Orchestra, and subsequently became solo flautist in the Thomas Orchestra at Chicago; and Leonardo de Lorenzo (b. 1875), composer of some fine studies and solos, who has settled in New York as first flute in the Philharmonic Society. He is a native of Naples and studied at the conservatoire in that city.

The earliest native-born player of note was John Kyle (c. 1810-70), son of an English bassoon-player. During most of his career he played the old eight-keyed flute, and later on the Siccama model. Towards the end of his life, he adopted a silver Böhm. Kyle was for many years a leading musician in New York. He filled the post of solo flute in the New York Opera and the Philharmonic Society. His tone was remarkably rich and sweet. Kyle accompanied Jenny Lind and Catherine Hayes in their tours through America, and subsequently performed at the Sontag Concerts. He is said to have played obligatos to the voice so skilfully that it was well-nigh impossible to tell which was voice and which flute. On one occasion when a prima donna broke