THE FUTURE OF FLUTE MAKING
Nor does Wong always recommend fixing broken flutes. “If it is an expensive flute, I will do my best to fix it for my client. If it is not, I will recommend my client give it up because it usually costs more than NT$3,000 to fix a damaged flute, which can be more than what it is worth,” Wong said.
Even as he aspires to surpass his Japanese and American counterparts, Wong is also worried that the skills he knows will be lost someday, as fewer and fewer people take the time to learn the craft of flute making. “To make a good pipe for the flute, it takes time and experience to test, test and test. This part is not written down in black and white and cannot be described, either. It takes a lot of trial and error before a flute maker can really become a master,” Wong said. “Also, most parents would expect their children to become remarkable flutists, instead of flute makers.”
Flutist James Lin (林仁斌), who has been one of Wong’s regular customers for 20 years, calls Wong a “master” of flute making. “What is so special about him is that he has respect for artists,” Lin said.
The 37-year-old flutist said that Wong always insists on making flutes that fit his customers’ needs. “Every hand-made flute has its own character. Wong is capable of making the unique character of each flute fit what its owner needs.” Lin added, “In addition to the term ‘healthy,’ I think ‘pure’ should be another good word to describe his [Wong’s] flutes.”
According to Lin, “preciseness” is the most important of a flute’s attributes. “I always feel like I am in total control of the flute, whenever I am playing one of his products,” Lin said.
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