Dresden 1709
Jean Baptiste D'Huisse (or d'Ucé) and Le Cont le père were the first flutists to be hired in the Dresden Court Hofkapelle, specifically for the "Flute Allemande" post. Their pay was among the highest in the orchestra. They were followed in the post by Pierre-Gabriel Buffardin in 1714.
Paris 1702
The first printed music collection for the 'new' flute was published in Paris in 1702: Michel de La Barre’s Pièces pour la flûte traversière avec la basse-continue.
Hamburg 1691
Active in the prolific city of Hamburg, Johann Sigismund Kusser, a pupil of Lully, wrote the opera Erindo in 1691, in which for the first time in the German-speaking area the "Flauto Todesco" (German flute) appeared in the score, in a melancholic tenor aria.
Rome 1698
Jacques Martin Hotteterre spends time in Rome between October 1698 and July 1700 as "Monsù Giacomo, mastro di flauto (Monsieur Jacques, flute master)” in service of the Marquis Francesco Maria Ruspoli, who was to host a young Handel only a few years later.
Potsdam 1728
In 1728 Quantz, as a flutist of the Electoral Saxon and Royal Polish Chapel in Dresden, was invited for the first time to give a concert In Potsdam.
The 16-year-old Crown Prince Frederick was delighted and obliged Quantz to give him flute lessons despite his father's prohibition.
Paris 1707
Jacques Hotteterre (ii) publishes the first tutor for the Baroque flute, Principes de la flûte traversière, which was later published in Dutch in 1729 and in English in 1730.
Köthen 1713
The earliest documented use of transverse flutes by Bach is found during the Köthen period,where two flute players are listed as members of the Cöthen Court Chapel Orchestra: Johann Heinrich Freytag and Johann Gottlieb Würdig.
Paris 1692
Pièces en Trio Pour Les Flutes, Violon, & Dessus de Viole is Marin Marais’ second work to be published and considered the first collection of trio music to appear in France, and the first iconographic reference of traverso.
London 1701
John Eccles’s opera The Judgment of Paris was one of at least four operas on the same libretto (written by William Congreve) composed for the 1701 Prize Musick competition that was promoting native English, all-sung opera, and it won second place. This is the first recorded appearance of the traverso (‘German flute’) in a score in England, at a time when it was still hardly known in the country.
London 1692
This is a collection of notes on organology compiled by James Talbot at Trinity College in Cambridge, assembled between 1685 and 1701, with descriptions of various instruments including makers' names and specific dimensions. Included in the collection is an entry on a "Flute D'Allemagne" made by Peter Bressan, which is the first mention of the traverso in England.
Saint-Germain-en-Laye 1681
The first recorded use of a baroque transverse flute in an opera score is in Lully’s Le Triomphe de l’amour, a typical ballet de cour, premiered at Louis XIV's court in 1681, and featuring royal and aristocratic amateur dancers, as well as professional performers.
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Transcript
Dresden 1709
Jean Baptiste D'Huisse (or d'Ucé) and Le Cont le père were the first flutists to be hired in the Dresden Court Hofkapelle, specifically for the "Flute Allemande" post. Their pay was among the highest in the orchestra. They were followed in the post by Pierre-Gabriel Buffardin in 1714.
Paris 1702
The first printed music collection for the 'new' flute was published in Paris in 1702: Michel de La Barre’s Pièces pour la flûte traversière avec la basse-continue.
Hamburg 1691
Active in the prolific city of Hamburg, Johann Sigismund Kusser, a pupil of Lully, wrote the opera Erindo in 1691, in which for the first time in the German-speaking area the "Flauto Todesco" (German flute) appeared in the score, in a melancholic tenor aria.
Rome 1698
Jacques Martin Hotteterre spends time in Rome between October 1698 and July 1700 as "Monsù Giacomo, mastro di flauto (Monsieur Jacques, flute master)” in service of the Marquis Francesco Maria Ruspoli, who was to host a young Handel only a few years later.
Potsdam 1728
In 1728 Quantz, as a flutist of the Electoral Saxon and Royal Polish Chapel in Dresden, was invited for the first time to give a concert In Potsdam. The 16-year-old Crown Prince Frederick was delighted and obliged Quantz to give him flute lessons despite his father's prohibition.
Paris 1707
Jacques Hotteterre (ii) publishes the first tutor for the Baroque flute, Principes de la flûte traversière, which was later published in Dutch in 1729 and in English in 1730.
Köthen 1713
The earliest documented use of transverse flutes by Bach is found during the Köthen period,where two flute players are listed as members of the Cöthen Court Chapel Orchestra: Johann Heinrich Freytag and Johann Gottlieb Würdig.
Paris 1692
Pièces en Trio Pour Les Flutes, Violon, & Dessus de Viole is Marin Marais’ second work to be published and considered the first collection of trio music to appear in France, and the first iconographic reference of traverso.
London 1701
John Eccles’s opera The Judgment of Paris was one of at least four operas on the same libretto (written by William Congreve) composed for the 1701 Prize Musick competition that was promoting native English, all-sung opera, and it won second place. This is the first recorded appearance of the traverso (‘German flute’) in a score in England, at a time when it was still hardly known in the country.
London 1692
This is a collection of notes on organology compiled by James Talbot at Trinity College in Cambridge, assembled between 1685 and 1701, with descriptions of various instruments including makers' names and specific dimensions. Included in the collection is an entry on a "Flute D'Allemagne" made by Peter Bressan, which is the first mention of the traverso in England.
Saint-Germain-en-Laye 1681
The first recorded use of a baroque transverse flute in an opera score is in Lully’s Le Triomphe de l’amour, a typical ballet de cour, premiered at Louis XIV's court in 1681, and featuring royal and aristocratic amateur dancers, as well as professional performers.