Luogo e data di registrazione		Saint-Lambert-des-Bois, Yvelines (Francia) - aprile 1977
	Registrazione: live / studio		studio
	Producer		Michel Bernstein
	Recording Supervision		Dr. Thomas Gallia, Milan
	Edizione LP		TELEFUNKEN - 6.42325 AP - (1 LP - durata 40' 26") - (p) 1978 - Analogico
	Originale LP		ASTRÉE - AS 17 - (1 LP - durata 40' 26") - (p) 1978 - Analogico
	Prima Edizione CD		ASTRÉE - E 7786 - (1 CD - durata 40' 26") - (c) 1991 - AAD
	Note		Produced by Astrée

The 17th century brought important changes in the construction and mode of playing of many musical instruments, among them the transverse flute. Throughout the century the term flute continued to refer to the recorder. But probably after 1650 - the beginnings are obscure - work began in Paris on a new flute which was intended to have a greater tonal range. In place of what until then had been a cylindrical tube, the instrument was given a conversely conical bore; that is to say, the tube narrowed down from the embouchure to the end; the finger-holes were designed according to the reach of the fingers. The instruments were made of box-tree, ivory, maple, peartree, ebony or rosewood, and until the beginning of the 18th century possessed a valve. Jacques Hotteterre, the flute virtuoso and instrument maker, called “Le Romain”, in his fundamental work on performance and construction of the instrument “Principes de la, flûte traversière” (Paris, 1707) was the first to suggest an arrangement of the finger-holes based upon the acoustic principles of mean tone tuning, the .most important precursor of well-tempered tuning. Hotteterre’s directions on construction and performance disposed of the problems existing until then resulting from differing finger reaches, and construction of the instrument was then determined by the finger reach. Furthermore Hotteterre’s introduction made it possible to expand the tonal range by higher octaves. In view of the fact that it is based upon the acoustic principle of mean tone intonation and consequently upon pure major thirds, they are not the same as the enharmonic tones on the present-day piano: according to Hotteterre’s system, the A lowered to A-flat sounds higher than the G raised to G-sharp. Nowadays, instruments with varying tone rendering play the G-sharp higher, as a leading note to A; As far as music of that time was concerned, however, this solution involved adjustment to the musical practice of the singers and violinists. An instrument with qualities of this kind was played in the present recording. From a language point of view the transverse flute was distinguished from the recorder, generally described as the flute, by way of the names flûte traversière, flûte d’Allemand or simply Traversa. Of the instruments in various registers, only the descant register was really able to hold its own, while the others, such as flûte d’amour or Traversa bassa remained special forms. Initially the instrument was played only by aristocratic personages in France; but due to the predilection of Frederick the Great for the instrument, it became the most widely distributed music lover’s instrument of the 18th century. Johann Joachim Quantz (1690-1771), flute tutor to the mighty Prussian monarch, reported on his first lessons in 1719 in Dresden: “At that time there were not many pieces written specifically for the flute. For the greater part one made do with oboe and violin pieces which each person utilised as best he could”. The number of concertos dating back to the 18th century, however, has been estimated at about 6,000. With the “Pièces pour la flûte traversière” by Michel de la Barre (ca. 1675-1743) the first works for the instrument appeared in print. As flautist, de la Barre performed as a chamber musician at the court of the Sun King; as composer, he succeeded in deriving typical phrases from his instrument. In addition to two operas, he wrote compositions for one and two flutes, as well as trios for flute, violin and oboe. Gerhard Schuhmacher (English translation by Frederick A. Bishop)