history

Information regarding the low whistle's history is scarse. Different sources make different claims. The following information provides theories of the insturment's origin.

The low whistle as a 17th century instrument

The low whistle was first named 'vertical flute' for its form. It is a descendant of fipple flutes developed during the 16th century, such as the baroque recorder. The first low whistles adopted the conical bore and six hole design of early transverse flutes. They were constructed of wood, and not tunable. In the late 17th century, metals such as nickel and brass were used to build low whistles. Usually the metal was rolled and soldered. Some designs incorporated a tuning slide. These metal vertical flutes were used through the 1800's. They were found in Ireland, Britain, Canada and United States. It is said metal vertical flutes were reintroduced to Irish music in the early 1970's by Finbar Furey. Some say he also coined the term 'low whistle' for the instrument.

The low whistle as a 20th century instrument

The low whistle is a very recent (the last 25 years maybe) invention; whatever level of acceptance in traditional music it has gained is even more recent. While its recent widespread exposure in "Riverdance" et al has done much to increase the visability of the instrument, few players have found it a very usable replacement for the traditional roles of either flute or tinwhistle: generally speaking they use low whistle as a "special effects" instrument on a few selected tunes (though there are some exceptional players). Many people seem to be under the impression that the low whistle will allow a whistle player to sound like a flute without having to do the work of actaully playing the flute, which it will not.

Cliff Hoyt, Customer Service, Repairs, and Technical Support, House of Musical Traditions

The low whistle as invented by Bernard Overton.

As far as I have been told, the first low whistle was made by Bernard Overton (English flute maker) when Finbar Furey broke an old (non-Irish) wooden flute he had and liked very much. He was looking for ther same haunting sound a wooden flute can produce, when alledgedly was too lazy to learn the 'Irish' wooden side-flute. It has been since then copied by Walton's (Dublin) but abandonned, plus other makes.

Erick Falc'her-Poyroux

Individuals who have talent and personality in abundance often make our passage through life more bearable. One such person is Bernard Overton - a man known to me for 27 years and personally for the last five.

Whilst in the process of making a recent one-hour special for BBC Radio Lancashire, based upon my whistle music, I had the perfect reason to call upon Bernard, in Brinklow nr. Rugby, Warwickshire. The setting of Bernard's resident village is typically English - rural, peaceful and leafy an ideal location to feature the Overton legend.

Armed with my BBC Mini Disc recorder I spent a whole day with Bernard and his wife Margaret. Such a visit upon my part is always a privilege - I am treated with respect. Hospitality flows in abundance - but such is the hallmark of Overton whose sincerity is matched only by the size of his whistles.

Bernard has devoted thirty years of his life to whistle making. The shape and appearance of his whistles has changed little since his first designs for Finbar Furey.

In the late sixties Eddie & Finbar Furey were one of the biggest draws in the U.K. folk scene. A highlight of this remarkable act was Finbar's composition 'The Lonesome Boatman'. Finbar played this originally on an Indian Bamboo Ab flute. Eventually after years of wear and tear, Finbar became worried at the rapid demise of this ethic alto instrument. The ageing flute was roughly forty-one centimetres in length.

The only substance to it at the end of its busy days was the tape and chewing gum that held it together. When one night Finbar sat on it at a party - it was time for Bernard to act fast. Request and necessity gave Bernard the opportunity to make a prototype whistle in 'G' for Finbar. Finbar was so impressed by this he asked Bernard to make him another in 'D'. At around sixty centimetres in length this was much bigger than anyone might anticipate a whistle to be. Birth had been given to the Overton dynasty.

Such was Finbar's popularity, when he featured the instrument folks always asked "who made the whistle - where can I get one?" Orders began to flow in for Bernard's special whistles. This meant that Bernard could give up his day job to cope with the demand for his whistles.

Bernard is now often referred to as 'The Low Whistle Man'. The 'Overton' is still constructed in the same traditional method as that of thirty years ago. Over twenty different types are manufactured. They range from Sopranos/Mezzo Sopranos/Altos/Tenors/Baritones and Bass Baritones. Probably his most popular model is the Tenor 'D'. Often referred to as The Low D.

As the years have passed many makers have tried to mimic the Overton. To my mind, as a staunch Overton fan - they don't match up. There is an honesty and sincerity that runs through the full length of an Overton whistle - as wholesome as the great man himself.

Little was Bernard (now in his late sixties) to know what he was starting all those years ago. All you Overton aficionados out there (who include Davy Spillane, Troy Donakley and James McNally) must surely agree that playing an Overton almost becomes a vocation. I currently own about thirteen of these beautiful instruments. I intend to obtain some more, made and crafted by the master himself.



Phil Brown, Lancashire, England

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