Luogo e data di registrazione		Bennebroek (Holland) - Febbraio 1970
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | SAWT 9570-B | 1 LP - durata 45' 46" | (p) 1970 | ANA
	Edizione CD		Teldec Classics "Frans Brüggen Edition" Vol. 6 | LC 6019 | 4509-97468-2 | 1 CD - durata 47' 52"  | (c) 1995 | ADD | (Hotteterre) Teldec Classics "Frans Brüggen Edition" Vol. 7 | LC 6019 | 4509-97469-2 | 1 CD - durata 44' 46"  | (c) 1995 | ADD | (Lavigne, Boismortier, Danican-Philidor)
	Cover		"Tanz im Sommerhaus". Gemälde von Nicolas Lancret (1690-1743).
	Note		-

When in Paris in the year 1712 the "Livres de Pièces pour la Flûte Traversière, Flûte à bec, ciolon etc." by Philidor and the "Suite de Pièces à deux Dessus sans Basse" by Hotteterre were published, the climax was reached of a period which extended from about 1695 (Rebel's first violin sonatas) until 1725ò The French style of mannered music was in its prime. What characterizes the music of this period is the way in which every single feature is elaborately worked out, and, in particular, the "agréments". Ornamentation was carried into the smallest detail, very often being noted by the composer to exclude the possibility of any misunderstanding. On this point Couperin stated in his preface to "L'Art de Toucher" (1717), that in order to perforrn the pieces correctly it was absolutely essential to read his "Principes". Philidor, Hotteterre, and Couperin too, used a large number of signs to indicate the various ornaments ("agréments"). As well as the simple trill "tremblement" there are "port de voix", "battement", "accent" and "tierce coulée" i.e. grace note from below, lower mordent (often combined), a slight upward movement at the end of a note and a slurred falling third. One remarkable ornament is the so-called "flattement", a finger vibrato (only vibrating downwards) used by Hotteterre in his "Principes de la Flûte Traversière“ (1707) and by Philidor in his “Pièces à deux Dessus sans Basse”. That the ornamentation was the most important element of this music is also shown by the fact that just at this time numerous "traités" and "principes" were published, most of them being filled with detailed descriptions and examples of "agréments". Alter 1725 French music soon fell into a decline. Inevitably alter so much detailed, highly specialised and, therefore, exclusively professional music a certain lethargy set in. Compositions became increasingly naive, consisting for the most part of simple, two-part songs written in parallel thirds. Ornaments were performed as desired, there was little or no modulation and so one key was chosen (for preference C major). Furthermore, bolder treatment was handed out to the different dance forms such as allemande, courante, sarabande, bourrée and gavotte. Instruments like the vièlle (hurdy-gurdy) or musette(bagpipes) were predominant, instruments on wich modulation is practically impossible. Typical of this period are "Sonates pour la Musette, Vièle, Flûte à bec, Flûte traversière, Hauthois etc, aver: la Basse" by Philibert de Lavigne. All that is known about him is that he was Master of Music to Comte d'Ayen in Paris around 1730. Joseph Bodin de Boismortier had the reputation among his contemporaries of being more interested in the commercial than the creative side of his work, a conclusion which may be drawn from the incredible number of his compositions. An exception, howevar, is his "Sonates en Trio pour trois Flûtes Traversières sans Basse" (1725), whose style places them in the first of the two periods. A beautiful balance between rhythm and melody marks these pieces. The third part is hasso continuo-like, lying considerably lower than the other two parts. Another work which belongs here is the “Suites à deux Dessus sans basse continue pour les Flûtes traversières, Flûtes à bec, Violes etc." by Jacques Hotteterre le Romain, in which the “Deuxième Dessus" is an often brilliant combination of the second part, customary in the trio sonata, with the basso continuo. In the Passacaille, in particular, the ground, which in fact never actually appears, is suggested in a masterly fashion. Hotteterre came of a famous family of woodwind instrument makers, who undertook important improvements on flutes, recorders and oboes. Anne Danican-Philidor also belonged to a family of well-known musicians. His father was a librarian of Louis XIV's “Bibliothèque Royal". (Part of this collection is still to be found in the "Collection Philidor“.) Danican-Philidor was the founder of the Concerts spirituels in Paris (1725) and a composer of pastoral operas and chamber music. About the instrumentation the following is to be said: At that time the recorder was never expressly stipulated. In fact it was seldom that any particular instruments were mentioned by name, tha indication “Dessus" (upper part) sufficed. There was, then, a free choice between flute, recorder, viola da gamba, violin, oboe etc. As, however, the range was generally frorn D to C one may presume that flutes, recorders and oboes were intended. In keeping with many instructions the part had to be transposed a minor third higher to enable it to be played on a recorder. All recorders made in France at this time must have been alto, for no other pitch appears either in the "Pièces" or in the "Traités". Kees Boeke