Page:The story of the flute (IA storyofflute1914fitz).djvu/75

 at the same time as an inspector of mines. Continuing his experiments on the flute, he in 1812 applied to it a new kind of spring for the keys, linings to the sockets, cork coverings to the joints, a moveable embouchure of gold, and other things; most, if not all, of which had been used before his time. In 1818 he was appointed to the King's Chapel band, and henceforth devoted himself entirely to music, studying under Joseph Graz. Having toured through Europe as a flautist along with Molique for several years, Böhm in October 1828 set up a flute factory in Munich, where he manufactured eight-keyed flutes with pillars to support the keysa contrivance already used in France before 1756 (Page 51, Fig. 3). In 1831 he visited Paris and London, performing on one of these flutes, of which only a drawing now exists. He played his own Grand Polonaise in D (op. 16) at the London Philharmonic concert of May 9th, 1831, and performed solos at Moscheles' concert there in the same month, and at Hummel's concert in June. In London he had a flute made for him, with several new features, by Gerock & Wolf, of 79 Cornhill (Page 51, Fig. 4). It was during this visit that he made Gordon's acquaintance. Whilst there he heard the famous Charles Nicholson, and was greatly struck by his powerful tone, which Böhm attributed to the large size of the holes on Nicholson's flute. In one of his letters Böhm says that but for Nicholson he would never have attempted any radical change of system: he despaired of rivalling him except by means of an improved instrument. In order