Jean-Pierre Rampal

450:, he offered one explanation for the appeal of Baroque music after the war: "With all this bad mess we had in Europe during the war, people were looking for something quieter, more structured, more well balanced than Romantic music." In the process of excavating forgotten works for performance, Rampal also had to discover new ways of playing that era's music. He applied his own bright tone and the liveliness and freedom of his style to the original texts, developing along the way a very individual approach to interpretation and, after the Baroque style, to improvised ornamentation. Throughout, Rampal was never tempted to perform on a period instrument; the movement that championed "authentic" instruments for "true" performance of Baroque music had not yet emerged. Instead, he drew on the full range of effects offered by the modern flute to reveal fresh elegance and nuance to Baroque compositions. It was this modernity–the richness and clarity of his sound and the freedom and personality in his expression–combined with a sense of hidden treasures being shared that caught the attention of a wider musical public. "Enchantment is the best possible word to describe this concert", said one Canadian reviewer for 1073:(1966) and Officier de la Légion d’Honneur (1979). He was also made a Commandeur de l’Ordre National du Mérite (1982) and Commandeur de l’Ordre des Arts et Lettres (1989). The City of Paris presented him with the Grande Médaille de la Ville Paris (1987), and in 1994 he received the Trophée des Arts from the Franco-American French Institute Alliance Française "for bridging French and American Cultures through his magnificent music". In 1994 the Ambassador of Japan presented Rampal with the Order du Tréasor Sacre, the highest distinction presented by the Japanese government, in recognition of having inspired a new generation of aspiring flute-players in that country. Strangely, with his enduring international fame assured, Rampal himself came to feel in later years that his own reputation within his native France had in some way diminished. It was "curious", he wrote in 1295:, featuring Couperin's Concert Royal No. 4, parts of J. S. Bach's Partita in A minor for solo flute and a sonata in B flat, K.15, by Mozart. The two concerto performances that complete the collection, both with the Orchestre Philharmonique de l'ORTF conducted by Rampal's long-time collaborator Louis de Froment, are of Mozart's Concerto No. 1 in G, K.313 (Paris, 5 May 1965), and the Ibert flute concerto (Paris, 8 April 1962). Of the Mozart concertos, Rampal said in a BBC Radio 4 interview that he did not like his 1966 recording with the Vienna Symphony Orchestra for ERATO because his playing was adversely affected by the uncomfortably high orchestral pitch insisted upon in Vienna. By contrast, he said he preferred his 1978 recording with the ‘Israel Symphony Orchestra’, even though it does not compare particularly well with the earlier TV performance. 1198:

Beethoven played with his father Joseph Rampal (rec 1951); and three Mozart quartets (KV 285, 285a and 285b – recorded 1946–50); alongside these are contemporary works by Roussel (rec 1950), Milhaud (rec 1949), Honegger (rec 1949), Dukas (rec 1950), Hindemith (rec 1950), Feld (rec 1959) and Francaix (rec 1955), and Rampal’s earliest recording of Debussy’s ‘Syrinx’ (rec 1949). The accompanying notes by Dennis Verroust of the French Flute Association, June 2002, reveal that in the 1949 Boismortier recording Rampal is not yet the star but plays the third flute part alongside Fernand Dufrene, Robert Rochut, Alphonse Kenvyn and Georges Lussagnet; it also confirms what Rampal himself declared in his autobiography ‘Music, My Love’ that the D major flute quartet (KV 285) by Mozart, with the Trio Pasquier in April 1946, was in fact his first ever recording.

817: 1033:, Rampal's globally known successor as "The Man with the Golden Flute", dedicated performances to him and recalled elsewhere how as a teenager he had been captivated by the sound of Rampal's "fluid technique" and "the beauty of his tone". For a young musician in the 1960s, he said, listening to Rampal's recordings "was a step into the stars as far as flute playing was concerned." He recalled also the generous encouragement Rampal gave him following their meetings in Paris. Of the passing of his "hero", Galway added: "He was the first major influence in my life and I am still grateful for everything he ever did for me. He was a great influence on the flute world and the musical world in general, bringing to ordinary folk through his music making a charm which enhanced their everyday lives." 1239:. Across 56 CDs, this box-set features recordings that Rampal made through the second half of his career, between 1969 and 1996, a period that saw his recording interests transferred to the American company CBS after his earlier and lengthy partnership with the French label Erato. Although the bulk of the CBS recordings are from the classical repertoire, there are also several cross-over albums (e.g. music by Bolling, Gershwin, Joplin, etc). Among many highlights, the collection charts Rampal's collaboration with American pianist John Steele Ritter, who in the late 1970s took over as his principal accompanist once illness had caused long-time recital partner Robert Veyron Lacroix to step back from touring. 443:(1752), and later acquired an original copy of it. For Rampal, the Baroque legacy was fuel to set alight a renewed interest in the flute, and it was his energy in pursuing this goal that set him apart from his forebears. Whereas Le Roy, Laurent and Barrère had all recorded two or three of Bach's flute sonatas between 1929 and 1939, between 1947 and 1950 Rampal recorded all of them for Boîte à Musique, and was beginning to regularly perform the complete Bach sonatas in recital, organising them across two evenings. As early as 1950–51 he became the first to record all six of Vivaldi's Op.10 concertos, an exercise he was to repeat several times in later years. 954:

opinion about the right balance between "virtuosity" and aspiring to real musical expressiveness. "Of course," he said, "you have to master all the problems of technique to be free to express yourself through your instrument. You can have a big imagination and a big heart but you cannot express it without technique. But the first quality you must have to be good, to be inspiring, is the sound. Without the sound you cannot achieve anything. The tone, the sound, the sonorité is most important. Otherwise, with the fingers alone it is not enough... everyone these days has the fingers, the virtuosity... but the sound, the tone, that's not so easy."

300:, whom he had met at the Paris Conservatoire in 1946. By contrast with, as Rampal saw it, his own somewhat emotional Provençal temperament, Veyron-Lacroix was a more refined character (a "true upper class Parisian"), but each found with the other a balanced musical partnership. The appearance of this duo after the war has been described as a "complete novelty", allowing them to make a rapid impact on the music-going public in France and elsewhere. In March 1949, in the face of some scepticism, they hired the 423:, Baroque music was still largely unrecognised when Rampal started out. He was well aware that his determination to promote the flute as a prominent solo instrument required a wide and flexible repertoire to support the endeavour. Accordingly, he seems to have been clear in his own mind from the beginning about the importance, as a ready-made resource, of the so-called "Golden Age of the Flute", as the Baroque era had become known. Hundreds of 95: 797: 783:. With family help, Rampal raised enough funds to rescue the instrument, and went on to perform and record with it for 11 years. In interviews, Rampal said he thought the gold—by contrast with silver—made his naturally bright, sparkling sound "a little darker; the colour is a little warmer, I like it". Only in 1958, when presented during his debut US tour with a 14-carat gold instrument made after the Lot pattern by the 27: 962:, too, has commented on Rampal's infectious enthusiasm for music-making: "his repute came more from his musical sparkle and the happy personality which radiated to the audience". Bennett had also sought Rampal out for lessons in Paris and was "instantly delighted with him—his humour, and his generosity—especially for his sharing my enthusiasm for other great players such as Moyse, Dufrene & Crunelle". 745:, which—with its spiky, explosive figures and extravagant use of flutter-tonguing—he found too abstract for his taste. Elsewhere, when sometimes criticised for not playing enough contemporary avant-garde work—"Avant garde of what?" he would ask—Rampal confirmed his aversion to music that looked "like the blueprints for a plumber... pieces that go tweak, twonk, thump, snort—this doesn't inspire me." 765:, a friend of Poulenc's, was unable to stay in Strasbourg for the evening of the concert itself, and so the duo obliged him with a private performance. Poulenc was then unable to travel to Washington for the US premiere on 14 February 1958, so Veyron-Lacroix took his place, and the sonata became a key offering in Rampal's US recital debut, helping launch his long-lived trans-Atlantic career. 982: 3514: 3144: 3111: 3092: 3003: 2963: 2895: 2862: 1369:, on 11 October 1983 in the 20:20–21:05 documentary slot. It contained extracts from an interview with Rampal himself, rare for the fact that Rampal gave very few interviews of any length in English. Rampal talks about his life and times and his approach to music-making. Also featured are interviews with English flautist William Bennett, American flautist and Rampal's sometime-pupil 779:. Rumours of the survival of the 18-carat gold Lot had been circulating in France for years before the Second World War, but no one knew where the piece had gone. In 1948, almost by chance, Rampal acquired the instrument from an antiques dealer who had wanted to melt the instrument down for the gold—evidently unaware that he was in possession of the flute equivalent of a 349:, at the Town Hall. Rampal's successful partnership with Veyron-Lacroix produced their 1962 double LP of the complete Bach flute sonatas. They performed and toured together for some 35 years, until the early 1980s, when Veyron-Lacroix was forced to retire owing to ill-health. Rampal then formed a new and also long-running musical partnership with American pianist 1007:

Lincoln Center. Rampal's last public recital was held at the Theatre Villamarta in Jerez de la Frontera (Spain) in November 1999, when he was 77; he performed works by Bach, Mozart, Kuhlau and Mendelssohn. His last recording was made with the Pasquier Trio and flautist Claudi Arimany (trio and quartets by Mozart and Hoffmeister) in Paris in December 1999.

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for boating, fishing and photography. Well known for his love of good food, he liked to maintain a private rule wherever he went on tour that he would eat "only the cuisine of the country" he was in and he looked forward to his post-concert dinners with relish. He developed a particular fondness for Japanese cuisine, and in 1981 wrote an introduction to

1340:(broadcast 28 March 1957); Couperin's Concert Royal IV, with J. S. Bach's Sonata for flute and harpsichord in G minor, BWV 1020 (broadcast 27 December 1961). Volume two features Mozart's Flute Concerto No. 2 in D major, K.314, together with the Flute Concerto No. 1 in G major, K.313 (broadcast 24 February 1966). 1308:

Rampal, playing the Poulenc flute sonata, is featured twice in this compilation, once with Poulenc himself in 1959 and again after the composer's death in 1963. The initial footage, preserved in the national French TV archive, is of a televised concert given by Poulenc in Paris at the Salle Gaveau in

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The Association Jean-Pierre Rampal has re-issued a number of early recordings (on the Premier Horizons label and elsewhere), including his 1954 recording of the concerto by Feld, and a range of recordings he made between 1954 and 1966 with orchestras conducted by Karl Ristenpart, with whom he enjoyed

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obituary (Anthony Tommasini, 21 May 2000) agreed, pronouncing him “one of the most-recorded and best-selling classical instrumentalists in history.” Rampal's last record label, Sony Classical, went a little further, describing the flutist as perhaps the world's single most-recorded classical musician

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in 1990, that no French music critics appeared to take any notice of his latest recordings: "Everything continues as if I didn't exist", he said; "This doesn't matter; I still play to full houses." But after his death, there was no shortage of public accolades to reflect the fact that he was indeed a

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said "Rampal's popularity was grounded in qualities that won him consistent praise from critics and musicians in the first decades of his career: solid musicianship, technical command, uncanny breath control, and a distinctive tone that eschewed Romantic richness and warm vibrato in favor of clarity,

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era allowed much greater freedom to accommodate the rate at which he was committing performances to record. At the same time, the birth of the television age ensured Rampal a wider prominence in France than any previous flute-player, through his many concert and recital appearances in the late 1950s

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in 1956; "Rampal's playing struck me through its variety, its flexibility, its colour and above all its liveliness." This striking effect can be heard on his earliest recordings, between 1946 and 1950. During this period, Rampal quickly benefited from the birth of the long-playing gramophone record.

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which included awards for his recording of Vivaldi's Op. 10 flute concertos (1954), his recording of concertos by Benda and Richter (1955) with the Chamber Orchestra of Prague (Milan Munclinger), and in 1976 the Grand Prix ad honorem du Président de la République for his overall recording career to

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In later years, Rampal took up the conductor's baton with more frequency but he continued to play well into his late 70s. The last work of importance dedicated to him was Krzysztof Penderecki's Flute Concerto which he premiered in Switzerland in 1992, followed by its first performance in America at

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Rampal and his harpist wife Françoise, née Bacqueryrisse, were married on 7 June 1947. They made their home in Paris, living in the Avenue Mozart. They had two children, Isabelle and Jean-Jacques. Each year, they holidayed at their house on Corsica, where Jean-Pierre was able to indulge his passion

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wrote "Mr. Rampal, with his effortless long line, his sweet and pure tone and his sensitive musicianship, is of course one of the great flutists in history." Throughout these years of mounting celebrity, Rampal continued to research and edit sheet-music editions of flute works for publishing houses

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concerto in G minor RV 439 with the Collegium Musicum de Paris (broadcast 8 October 1963) comes a rendition of J.S. Bach's Suite in C minor BWV 997 (Paris, 16 April 1963) and the opening Allegro from Bach's Sonata in G minor BWV 1020 (Paris, broadcast 28 December 1964), both with Veyron-Lacroix at

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was founded in France to perpetuate the study and appreciation of Rampal's contribution to the art of flute-playing. Among other projects, which include maintaining the Jean-Pierre Rampal Archive, the association has collaborated in the re-release on the Premier Horizons label of a number of early

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Rampal's first commercial recording, made in 1946 for the Boite a Musique label in Montparnasse, Paris, was of Mozart's Flute Quartet in D, with the Trio Pasquier. A key element in Rampal's success in the years immediately after World War II—aside from his evident ability—was his passion

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in Paris to perform what then seemed the radical idea of a recital programme made up solely of chamber music for flute. It was one of the first flute/piano recitals the city had seen, and caused a "sensation". The success encouraged Rampal to continue along that track. The recital was repeated the

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collection (Patrimoine, Vol.1) includes a set of five Bach Sonatas (BWV 1030, 1031, 1032, 1020, 1034 – recorded 1947–50); sonatas by Telemann (rec 1949) and Leclair (rec 1950); pieces by Couperin (rec 1950) and Haydn (rec 1950); a concerto for five flutes by Boismortier (rec 1949); a duet in G by

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Rampal's earliest recordings, 1946–1950, were on 78 rpm discs, many for the Parisian "Boite a Musique" label. With the opening of the 33 rpm LP era, he recorded for over 20 different labels between 1950 and 1970. Among the most significant of these was the French Erato label, founded in

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Throughout the busiest years of his concert career, Rampal continued to find time to teach others, encouraging his students to listen not only to other flute players, but also to take inspiration from other great musical interpreters—be they pianists, violinists, or singers. He maintained a clear

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Even before World War II, he had begun collecting obscure sheet music from the Baroque—making himself familiar with original publishers and catalogues, even though very few published editions were then available. He went on to research in libraries and archives in Paris, Berlin, Vienna,

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of America in 1957 to write a new flute piece. The composer consulted with Rampal regularly on shaping the flute part, and the result, in Rampal's own words, is "a pearl of the flute literature". The official world premiere of Poulenc's Sonata for Flute and Piano was performed on 17 June 1957 by

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Rampal extended his researches into the Classical and Romantic eras in order to establish some continuity to the repertoire of his instrument. For example, his first "recital" LP, released in both America and Europe, featured music from Bach, Beethoven, Hindemith, Honegger, and Dukas. Aside from

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This is a two-volume DVD compilation featuring a series of Radio-Canada "Telecasts", broadcast and recorded during the years when Rampal was at the peak of his fame. In this rare footage, retrieved from the archives of CBC Montreal, Rampal is accompanied by Veyron-Lacroix and the McGill Chamber

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observed: "He played with such a rich palette of color in a way that few people had done before and no one since. He had an ability to imbue sound with texture and clarity and emotional content. He was a dazzling virtuoso, but more than anything he was a supreme poet." The trustees and staff of

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His career in music began without the full encouragement of his parents. Rampal's mother and father encouraged him to become a doctor or surgeon as they felt those professions were more reliable than becoming a professional musician. At the beginning of the Second World War, Rampal duly entered

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from the flute Sonata. Rampal is seen again later in footage from a TV broadcast in which he plays the complete Flute Sonata, this time accompanied by Veyron-Lacroix. Additional performances of Poulenc's music are provided by artists including pianist Jacques Février, cellist Maurice Gendron,

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A great deal of the material Rampal performed and recorded he also published, supervising sheet music collections in both Europe and the US. In his autobiography, he remarked that he had felt it part of his "duty" to expand as much as possible the repertoire for fellow flautists as well as for

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Rampal made a great number of television concert appearances in France from the late 1950s onwards, and later elsewhere—especially in America and Japan, where his reputation and following remained highest. As the first televised flute-player of any age, the medium contributed to his worldwide

575:'s Sonata for Flute and Piano in D, which in the 1940s was in danger of being co-opted for the violin despite originally having been written for flute. Later, when preparing a new sheet music edition published by the International Music Company of New York, Rampal consulted Russian violinist 217:

Under the tutelage of his father, Rampal began playing the flute at the age of 12. He studied the Altès method at the Conservatoire, where he won first prize in the school's annual flute competition in 1937 at age 16. This was also the year of his first public recital at the Salle Mazenod in

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His 1970s recording of four Tartini concertos (ERATO STU 71061) is a good example of this enterprise, although the manner of the decorated repeats, as played by Rampal, was based on original notes and directions by Tartini himself and not simply the result of some loosely imagined Baroque

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in 1956. In the same year, he appeared in Canada—where, at the Menton festival, he played for the first time in concert with violinist Isaac Stern, who not only became a lifelong friend but also proved a considerable influence on Rampal's own approach to musical expression.

1377:, together with the two unedited original interviews with Rampal that it draws on (both recorded by BBC producer Peter Griffiths in London, in January 1981 and November 1982, at the Westbury Hotel, Conduit Street, off Regent Street, where Rampal normally stayed in London). 1262:

This presents a collection of fine early performances filmed for French TV between 1958 and 1965 and still held in the Institut National de l'Audiovisuel, the national French television archive. The earliest footage was broadcast on 17 March 1958, in the musical TV series

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Orchestra, conducted by Alexander Brott. The first volume of this set of live broadcasts includes: Boccherini's Concerto for Flute and Orchestra in D major (broadcast 1 March 1956); Haydn's Concerto for flute, harpsichord and string orchestra in F major, with Debussy's

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date. He also received the "Réalité" Oscar du Premier Virtuose Francais (1964), the Edison Prize; the Prix Mondial du Disque; the 1978 Leonie Sonning Prize (Denmark), the 1980 Prix d’Honneur of the 13th Montreux World Recording Prize for all his recordings; and the

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made by Rampal were reissued, containing a wealth of material on the label for which he recorded extensively from the early 1950s to the early 1980s. These three volumes, comprising over 40 CDs (vo.1: 1954–63, vol.2: 1963–69, vol.3: 1970–82), stand alongside the

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set, issued in France in 2002 in collaboration with the Association Française de la Flûte, contains rare early performances from 78 rpm records made from 1946 to 1959. Charting the emergence of the young Rampal on record in the post-war years, this 3xCD

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newspaper offered up the customary claim that Rampal “became one of the world's most recorded artists, with more than 400 records spanning the essential flute repertoire, quantities of new discoveries and first recordings of hitherto unknown works”. The

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specifically marked his landmark collaboration in the mid-1950s with Czech conductor and flutist Milan Munclinger, and contains the first recordings of concertos by Benda, Richter, Stamitz and Feld, together with the Prokofiev sonata and other pieces.

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Medal of Merit for his lifetime's achievement. In 1988, he was created President d’honneur of the French Flute Association "La Traversière", while in 1991 the National Flute Association of America gave him its inaugural Lifetime Achievement award.

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following year in Paris. Throughout the early 1950s, the duo made regular radio broadcasts and gave concerts within France and elsewhere in Europe. Their first international tour came in 1953: an island-hopping journey through Indonesia to

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Flute Company of Boston, did Rampal stop using the 1869 original. After one final recording in London, he consigned the golden Lot to the safety of a bank vault in France, and thereafter made the Haynes his concert instrument of choice.

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In the years following Rampal's death in 2000 many of his recordings spanning more than half a century were re-issued. Of particular note are the several collections produced by the recording companies he was most associated with.

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It had originally been sent to Shanghai, a retirement gift commissioned in the 1860s for French flautist Jean Remusat, who became president of the Shanghai Philharmonic Society; somehow it found its way back to Europe, albeit in

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to achieve the best result; the piece has since become established as a flute favourite. Over his career, he performed all of the flute masterpieces that were composed in the first half of the 20th century, including works by

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Following the foundation of the Nice Summer Academy in 1959, Rampal held classes there annually until 1977. In 1969, he succeeded Gaston Crunelle as flute professor at the Paris Conservatoire, a position he held until 1981.

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Throughout the 1960s, 1970s, and 1980s, Rampal remained especially popular in the US and Japan (where he had first toured in 1964). He toured America annually and was a regular presence at the Mostly Mozart Festival at the

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Carnegie Hall in New York, where Rampal had performed 45 times over a 29-year period, hailed him as "one of the greatest flutists of the 20th Century and one of the greatest musical spirits of our time." The obituary in

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radiance, focus and a wide palette of colorings. Younger flutists assiduously studied and tried to copy his approaches to tonguing, fingering, embouchure (the position of the lips on the mouthpiece) and breathing."

942:: "For me, the flute is really the sound of humanity, the sound of man flowing, completely free from his body almost without an intermediary Playing the flute is not as direct as singing, but it's nearly the same." 1036:

At Rampal's funeral, fellow flautists played the Adagio from Boismortier's Second Flute Concerto in A Minor in recognition of his lifelong passion for Baroque music in general and Boismortier in particular.

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himself. In trying to keep the flute before the musical public in the widest sense possible, Rampal also played in as many groups and combinations as he could, a habit he continued for the rest of his life.

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Turin, and every other major city he performed in, and corresponded with others across the musical world. From original sources, he developed a detailed understanding of the Baroque style. He studied

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as a concert hall encore, for example, he provided extra percussion by stamping his feet rhythmically on stage in time to the music. Meanwhile, Bolling and Rampal came together again for Bolling's

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written for the flute in the 18th century had fallen into obscurity, and he recognised that the sheer abundance of this early material might offer long-term possibilities for an aspiring soloist.

543:. Rampal was the first flautist to record most, if not all, of the flute works by Bach, Handel, Telemann, Vivaldi, and other composers who now comprise the core repertoire for flute players. 1082: 734:

wrote his Symphony No. 36, which contained a melodic flute part tailored especially for Rampal, who gave the premiere performance of the work in concert with the National Symphony Orchestra.

1105:, 1989) Rampal admitted that he himself found it difficult to keep track of the number of recordings he had made over his lifetime. In its obituary of Rampal (June Emerson, 24 May 2000), 571:

back into view. From the start, his recital programmes included modern compositions as well. In 1948, as part of his debut recital in Paris, Rampal gave the first Western performance of

539:, also figured significantly in his repertoire. He was open to experimentation; once, through laborious over-dubbing, he played all five parts in an early recording of a flute quintet by 1085:, begun in his honour in 1980 and open to flautists of all nationalities born after 8 November 1971, is held tri-annually as part of the Concours internationaux de la Ville de Paris. 1101:

Throughout his life Rampal was prolific when it came to committing performances to record. He recorded for a wide range of labels in Europe, America and Japan. In his autobiography (

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Through his recordings for labels including L'Oiseau-Lyre and, from the mid-1950s, Erato, Rampal continued to give new currency to many "lost" concertos by Italian composers such as

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label). In 1964 alone he recorded 17 albums, including three complete sets of flute pieces by Mozart, Handel, and Beethoven, in addition to concertos and other works. In 1978, with

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The 8th Jean-Pierre Rampal International Flute Competition is to be held in Paris, from 23 September to 4 October 2008, as part of the Concours internationaux de la Ville de Paris.

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Robert Gendre. Remaining together over almost three decades, the ensemble proved one of the first musical groups to bring to light the chamber repertoire of the 18th century.

507:, as well as other works from the Potsdam court of the flute-playing king Frederick the Great. His 1955 collaboration in Prague with Czech flautist, composer, and conductor 226:

Occupation of France drafted him for forced labour in Germany. To avoid this, he fled to Paris, where it was easier to avoid detection, by frequently changing his lodgings.

1428:(1862–1914) had in 1909 succeeded Paul Taffanel as professor of flute. Joseph Rampal went on to win the First Prize in the Conservatoire's annual flute competition in 1919. 360:

Pierre Pierlot founded the Quintette a Vent Francais (French Wind Quintet), formed of a group of musical friends who had made their way through the war: Rampal, Pierlot,

1493: 1558: 4059: 730:(recorded 1970) showed Rampal's willingness to broaden the flute repertoire further by borrowing from other instruments. In 1978, the Armenian-American composer 4054: 758: 753: 2311: 2152: 826:

His range extended well beyond the orthodox: alongside the classical recordings, he recorded Catalan and Scottish folk songs, Indian music with sitarist

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and remained there for ten years. This raised his profile with the American public even further and led, in January 1981, to a TV appearance on

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One piece in particular, written with Rampal in mind, has since become a modern standard in the essential flute repertoire. Rampal's compatriot

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claimed him to be no less than "L'inventeur de la flute" and celebrated all the musical characteristics that charmed audiences worldwide: "

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from January 1944. Years later, he succeeded Crunelle as flute professor at the Conservatoire. After four months, Rampal's performance of

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Rampal with Veyron-Lacroix 1959, photo dedicated on the first of three acclaimed Southern Africa musical tours organised by Hans Adler.

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audiences. From 1954 onwards came his first concerts in eastern Europe—most significantly in Prague, where he premiered Jindrich Feld's

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reported, one critic dubbed him "the Alexander of the flute, with no new worlds to conquer." Following a performance of Mozart's

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Marseille. By then, Rampal was playing second flute alongside his father in the Orchestre des Concerts Classiques de Marseille.

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for unaccompanied flute. For the Handel, Debussy, and Ravel pieces, he is accompanied by the programme's presenter, pianist

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the harpsichord. More of this duo in recital at the Salle Gaveau in Paris (19 March 1964) appears from the TV series the

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la sonorite sublime, la vivacite des phrases, la virtuosite laissaient une impression de bonheur, de joie a ses auditeurs

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His first performance on record with the unique gold Lot is thought to be the recording he made in April 1948 of Bach's

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led the tributes, saying "his flute spoke to the heart. A light in the musical world has just flickered out." Flautist

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in rue de Bec, Paris—a programme of music outlawed by the Nazis, including works with Jewish links by composers such as

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For his first professional recital, given in Marseille in July 1941, Rampal was accompanied by pianist Pierre Barbizet.

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As a chamber musician, he continued to collaborate with numerous other soloists, forming collaborations with violinist

4024: 1974: 1805: 1373:, and violinist Isaac Stern—who was Rampal's long-time friend and musical collaborator. The programme is kept in the 70: 3513: 761:. Unofficially, however, they had performed it a day or two earlier to a distinguished audience of one: the pianist 2798: 1365:

Apart from the many French Radio broadcasts of performances by Rampal, BBC Radio 4 broadcast a 45-minute profile,

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in 1934, live on French National Radio. It launched his concert career and was the first of many such broadcasts.

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according to Rampal’s own account in a radio interview he gave in April 1969 for Chicago classical music station

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In 1952 he founded the Ensemble Baroque de Paris, featuring Rampal himself, Veyron-Lacroix, Pierlot, Hongne, and

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While he pursued his career as a soloist, Rampal remained a ensemble player throughout his life. In 1946, he and

182:. Rampal popularised the flute in the post–World War II years, recovering flute compositions from the 41: 4074: 2166: 850: 727: 276:

With the war over, Rampal embarked on a series of performances: at first, within France; and then, in 1947, in

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EMI "Classic Archive" DVB 51089991; released 2007 in collaboration with the Association Jean-Pierre Rampal

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Rampal was the owner of the only solid gold flute (No. 1375) made, in 1869, by the great French craftsman

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a close collaboration. These include works by Vivaldi, Bach, Handel, Tartini, Mozart, Arma, and Jolivet.

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Henson, Jim; Juhl, Jerry; Odell, David; Hinkley, Don (writers) (17 January 1981). "Jean-Pierre Rampal".

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1959. After a brief interview with the composer, Poulenc is joined on set by Rampal to perform the slow

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Back on the classical stage, he was not afraid to be, as he put it, "a bit of a ham"; when performing

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Duran, Elena (presenter); Griffiths, Peter (producer) (1983). "Rampal—Prince of Flute Players".

1070: 874:—and, suitably attired, "Ease on Down the Road" in a scene loosely based on the folktale of the 495:(often collaborating with Claudio Scimone and I Solisti Veneti), and French composers including 2937: 3888: 3828: 3400: 3132: 2766: 2476: 2275:

Some programs, introduction and photos from his 3 acclaimed tours of Southern Africa, 1959–73

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medical school in Marseille, studying there for three years. In 1943, authorities of the

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1953, for whom he made approximately 100 recordings (several issued in the US on the

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On 14 February 1958, Rampal and Veyron-Lacroix made their US debut with a recital of

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This features a live televised performance from 1976 of Claude Bolling's cross-over

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After Rampal died in Paris of heart failure in May 2000 at age 78, French President

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including Georges Billaudot in Paris and the International Music Company in the US.

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and others, together with the ORTF National Orchestra conducted by Georges Prêtre.

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Rampal's autobiography gives the address as 20 rue Brochier in central Marseille.

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JP Rampal: The Complete HMV Recordings: "A Conversation with Jean-Pierre Rampal"

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won him the coveted first prize in the conservatory's annual flute competition.

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in New York. At his busiest, he performed between 150 and 200 concerts a year.

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Before 1950, all of his recordings were on 78 rpm discs. After 1950, the

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The only piece dedicated to Rampal that he never publicly performed was the

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Rampal's principal American students include concert and recording artist

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Rampal, ean-Pierre (November 1982). "Interview with Jean-Pierre Rampal".

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Between 1955 and 1962, Rampal took up the post of Principal Flute at the

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charts. Special guest double-bass player Max Hediguer is also featured.

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J-P Rampal touring Southern Africa with the French Wind Quintet, 1963

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written by a chef and a master sushi teacher. Rampal's autobiography

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He begins with Handel's Sonata in F (HWV.369), then plays Debussy's

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in rehearsal with Aaron Copland at Saratoga Springs, New York, 1979

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Joyce, Laurence (22 May 2000). "Obituary: 'Jean-Pierre Rampal'".

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but primarily featured music by late 19th and early 20th-century

838: 722:. His transcribing in 1968, at the composer's own suggestion, of 581: 480: 412: 281: 183: 1848:, p. 26: "No other flutist ever played so often with his peers." 853:(1975), written by Bolling especially for Rampal, topped the US 1225:

Jean-Pierre Rampal in Prague: the Complete Supraphon Recordings

642:. A number of composers wrote especially for Rampal, including 548: 536: 528: 468: 357: 326: 306: 2118:(22 May 2000). "Jean-Pierre Rampal; L'inventeur de la flute". 2052: 1657: 981: 206:. His father Joseph was taught by Hennebains, who also taught 2282:

at the Académie Internationale d'Eté in Nice, 1968 & 1970

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Interview by Peter Griffiths for the BBC Radio 4 documentary

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Joseph Rampal studied flute at the Paris Conservatoire where

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Rampal also makes an appearance in the 1977 educational film

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Jean-Pierre Rampal: The Complete CBS Masterworks Recordings

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Jean-Pierre Rampal: The Complete CBS Masterworks Recordings

1219:(1951–76 on 12 CDs) also re-issued under the Erato label. 1139: 322: 223: 1947:

Zukerman, Eugenia (September 1981). "Jean-Pierre Rampal".

559:, Rampal also helped bring the works of composers such as 2326: 1248:

popularity in the decades after World War II:

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Of the primal appeal of the flute, Rampal once told the

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While in Paris, Rampal auditioned to study flute at the

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Joseph won first prize playing Busser's "Thème Varié".

202:, the only child of Andrée (née Roggero) and flautist 1534:

Françoise is the daughter of harpist Odette Le Dentu.

2214:. Trans. Edward Blakeman. Tony Bingham. p. 26. 1731:(Interview). Interviewed by Peter Griffiths. London. 2024: 2022: 1681: 1679: 1597: 1069:State honours included being made Chevalier de la 870:, where he played "Lo, Hear the Gentle Lark" with 186:era, and spurring contemporary composers, such as 1206:Jean-Pierre Rampal: The Complete Erato Recordings 1131:, which included three folk songs transcribed by 4016: 1552: 1550: 2231:Jean-Pierre Rampal: Le premier virtuose moderne 2151:: CS1 maint: others in cite AV media (notes) ( 2019: 1676: 1186:Jean-Pierre Rampal: Le premier virtuose moderne 945:Calling Rampal "an indisputably major artist", 395:. The Quintet remained active until the 1960s. 1698: 1696: 1694: 998:appeared in 1989 (published by Random House). 511:resulted in a recording of flute concertos by 2806: 2312: 2069: 1547: 4060:Recipients of the Léonie Sonning Music Prize 4055:Academic staff of the Conservatoire de Paris 1399:, playing his flute on a rooftop in France. 1318:, organist Jean-Jacques Grunenwald, soprano 845:, and collaborated with French jazz pianist 757:Rampal, accompanied by the composer, at the 345:. In 1959, Rampal gave his first concert in 178:(7 January 1922 – 20 May 2000) was a French 2820: 1691: 1664:(in French). Association Jean-Pierre Rampal 1596:Rampal, Jean Pierre; Wise, Deborah (1989). 55:of quality, and to make it neutral in tone. 2813: 2799: 2319: 2305: 1968: 1966: 1964: 1962: 1626: 1595: 768: 93: 2070:Ōmae, Kinjirō; Tachibana, Yuzuru (1988). 2037:. London: William Bennett. Archived from 1972: 1591: 1589: 1587: 1585: 1583: 1581: 1579: 830:, and, accompanied by the French harpist 405: 71:Learn how and when to remove this message 1946: 985:Grave of Rampal in Montparnasse Cemetery 980: 921:with the New York Philharmonic in 1976, 815: 795: 2028: 1959: 1559:"Flutist Jean-Pierre Rampal Dies at 78" 1556: 1344:Bolling: Suite for Flute and Jazz Piano 1326:The Art of Jean-Pierre Rampal 1956–1966 1242: 919:Concerto for Flute, Harp, and Orchestra 4017: 1829: 1827: 1803: 1726: 1722: 1720: 1718: 1716: 1714: 1576: 523:. Other composers of the era, such as 2794: 2300: 2196:(CD) (in French). France: Patrimoine. 2114: 1999: 1702: 1386:L. Subramaniam: Violin From the Heart 1222:In 2017 the release of the double CD 547:recording familiar composers such as 257:, Rampal was invited by the composer 2328:Léonie Sonning Music Prize Laureates 2252:Jean Pierre-Rampal Flute Competition 1525:His first concert there was in 1973. 1083:Jean-Pierre Rampal Flute Competition 1040:Jean-Pierre Rampal is buried in the 1001: 899:Suite No. 2 for Flute and Jazz Piano 20: 1824: 1741: 1711: 1286:. After a performance of Vivaldi's 248: 13: 2212:The French Flute School, 1860–1950 1973:Tommasini, Anthony (21 May 2000). 1515:Academy of St Martin in the Fields 265:—to perform the Flute Concerto by 14: 4091: 2280:Photographs of Jean-Pierre Rampal 2238: 2029:Bennett, William (15 July 2000). 2000:Reich, Howard (24 January 1988). 1304:EMI 'Classic Archive' DVB 3102019 474: 4065:20th-century classical musicians 4040:Burials at Montparnasse Cemetery 3512: 3142: 3109: 3090: 3001: 2961: 2893: 2860: 2246:L'Association Jean-Pierre Rampal 2203: 1557:Pearson, Richard (21 May 2000). 1367:Rampal–"Prince of Flute Players" 25: 2209: 2185: 2159: 2126: 2108: 2096: 2063: 2045: 1993: 1940: 1925: 1904: 1892: 1879: 1863: 1851: 1839: 1797: 1785: 1780: 1774: 1768: 1762: 1735: 1644: 1632: 1528: 1519: 1503: 1486: 1476: 1459: 1449: 415:era. Aside from a few works by 1887:Rampal–Prince of Flute Players 1804:Wright, David (3 April 1988). 1662:Association Jean-Pierre Rampal 1650: 1638: 1440: 1431: 1418: 1409: 1338:Syrinx for unaccompanied flute 1096: 1090:Association Jean-Pierre Rampal 976: 933: 851:Suite for Flute and Jazz Piano 193: 1: 4070:20th-century French musicians 4045:Conservatoire de Paris alumni 3585:Arturo Benedetti Michelangeli 2228: 2102: 1898: 1873:– contained on CD 16 of 1857: 1845: 1833: 1806:"Is There Life After Rampal?" 1791: 1685: 1541: 1293:Jeunesses musicales de France 1195:Traversieres Flute Collection 1052:Rampal's honours include his 2192:Rampal, Jean-Pierre (2002). 1402: 791: 263:Orchestre National de France 7: 2210:Dorgeuille, Claude (1986). 2194:Le premier virtuose moderne 2141:. RCA. 2001. 09026 63701 2. 2053:"The Home of Ransom Wilson" 1889:, broadcast 11 October 1983 1331:Video Artists International 1299:Francis Poulenc and Friends 1093:Rampal performances on CD. 16:French flautist (1922–2000) 10: 4096: 4050:French classical flautists 2133:"The Passing of My Hero". 1511:Brandenburg Concerto No. 5 1276:Pièce en forme de habanera 1078:source of national pride. 1047: 3912: 3859: 3657: 3445: 3161: 2828: 2747: 2676: 2605: 2534: 2463: 2392: 2351: 2334: 1210:Complete Erato Recordings 1208:(3 vols) - In 2015, the 1042:Cimetière du Montparnasse 648:Sonatine pour flûte seule 457:33⅓ rpm long-playing 446:In an interview with the 233:, where he was taught by 160: 150: 136: 116: 106: 101: 92: 85: 4025:Musicians from Marseille 3261:Dietrich Fischer-Dieskau 2430:Dietrich Fischer-Dieskau 1917:. Season 5. Episode 12. 1660:[Biographical]. 1380: 1360: 752:was commissioned by the 439:and his famous treatise 176:Jean-Pierre Louis Rampal 112:Jean-Pierre Louis Rampal 3915:record label executives 3177:Victoria de los Ángeles 2822:Gramophone Hall of Fame 2371:Witold Lutosławski 1658:"Repères Biographiques" 1265:Les Grandes Interprètes 1216:Complete HMV Recordings 1058:l'Académie Charles Cros 887:Ragtime Dance and Stomp 770:L'homme à la flûte d'or 261:—then conductor of the 253:In 1945, following the 4080:20th-century flautists 1129:Japanese Folk Melodies 986: 893:(1980) with guitarist 823: 805: 406:Recovering the Baroque 102:Background information 36:may be written from a 4075:Erato Records artists 3829:Mstislav Rostropovich 3401:Elisabeth Schwarzkopf 3133:Michael Tilson Thomas 2767:Pierre-Laurent Aimard 2477:Mstislav Rostropovich 2286:Photographs of Rampal 1744:"Rampal, Jean-Pierre" 1509:Thought to be Bach's 1054:Grand Prix du Disques 984: 819: 799: 640:Mstislav Rostropovich 411:for the music of the 298:Robert Veyron-Lacroix 42:neutral point of view 3913:Producers/engineers/ 3380:Anne Sofie von Otter 2971:Nikolaus Harnoncourt 2655:Lars Ulrik Mortensen 2560:Nikolaus Harnoncourt 2041:on 23 February 2007. 2031:"Rampal and Dufrene" 1243:Rampal on TV and DVD 720:Krzysztof Penderecki 441:On Playing The Flute 3903:The Tallis Scholars 3868:Alban Berg Quartett 3606:Sergei Rachmaninoff 3324:Dmitri Hvorostovsky 2992:Herbert von Karajan 2978:Christopher Hogwood 2952:Carlo Maria Giulini 2945:John Eliot Gardiner 2938:Wilhelm Furtwängler 2643:John Eliot Gardiner 2418:Dmitri Shostakovich 2147:cite AV media notes 1742:Burgess, Marjorie. 1563:The Washington Post 1467:Severino Gazzelloni 1272:The Little Shepherd 927:Harold C. Schonberg 759:Strasbourg Festival 754:Coolidge Foundation 682:). Others included 343:Library of Congress 255:liberation of Paris 231:Paris Conservatoire 38:fan's point of view 3889:The King's Singers 3822:Jean-Pierre Rampal 3794:Anne-Sophie Mutter 3613:Sviatoslav Richter 3510:Marc-André Hamelin 3475:Vladimir Ashkenazy 3205:Montserrat Caballé 2910:Sergiu Celibidache 2619:Anne-Sophie Mutter 2507:Sviatoslav Richter 2471:Marie-Claire Alain 2448:Jean-Pierre Rampal 2400:Sergiu Celibidache 2270:tributes to Rampal 2258:Jean-Pierre Rampal 1979:The New York Times 1810:The New York Times 1426:Adolphe Hennebains 1253:Jean-Pierre Rampal 1088:In June 2005, the 987: 947:The New York Times 824: 806: 351:John Steele Ritter 87:Jean-Pierre Rampal 4012: 4011: 4003:Kenneth Wilkinson 3984:Goddard Lieberson 3703:Jacqueline du Pré 3620:Arthur Rubinstein 3529:Vladimir Horowitz 3387:Luciano Pavarotti 3119:Leopold Stokowski 3053:Yevgeny Mravinsky 3032:Charles Mackerras 2870:Leonard Bernstein 2788: 2787: 2720:Herbert Blomstedt 2596:Sofia Gubaidulina 2590:Hildegard Behrens 2566:Krystian Zimerman 2406:Arthur Rubinstein 2359:Leonard Bernstein 2229:Verroust, Denis, 2221:978-0-946113-02-6 2081:978-4-7700-1366-8 2072:The Book of Sushi 1611:978-0-394-56578-1 1375:BBC Sound Archive 1002:Leaving the stage 992:The Book of Sushi 785:William S. Haynes 724:Aram Khachaturian 704:Leonard Bernstein 371:Paul Hongne, and 243:Le chant de Linos 170: 169: 81: 80: 73: 4087: 4005: 3998: 3993: 3986: 3979: 3972: 3965: 3960: 3953: 3946: 3939: 3932: 3925: 3905: 3898: 3891: 3884: 3877: 3870: 3852: 3845: 3838: 3831: 3824: 3817: 3810: 3803: 3796: 3789: 3782: 3775: 3768: 3761: 3754: 3747: 3740: 3733: 3726: 3719: 3712: 3705: 3698: 3691: 3684: 3677: 3670: 3660:woodwind players 3650: 3643: 3636: 3629: 3622: 3615: 3608: 3601: 3599:Maurizio Pollini 3594: 3587: 3580: 3573: 3566: 3559: 3557:Gustav Leonhardt 3552: 3545: 3538: 3531: 3524: 3517: 3516: 3505: 3498: 3491: 3484: 3477: 3470: 3463: 3456: 3454:Leif Ove Andsnes 3438: 3436:Fritz Wunderlich 3431: 3424: 3417: 3410: 3403: 3396: 3389: 3382: 3375: 3368: 3361: 3354: 3347: 3345:Simon Keenlyside 3340: 3333: 3331:Gundula Janowitz 3326: 3319: 3312: 3305: 3298: 3291: 3289:Nicolai Ghiaurov 3284: 3282:Angela Gheorghiu 3277: 3270: 3268:Kirsten Flagstad 3263: 3256: 3254:Kathleen Ferrier 3249: 3242: 3235: 3233:Feodor Chaliapin 3228: 3221: 3214: 3207: 3200: 3193: 3186: 3179: 3172: 3154: 3147: 3146: 3140:Arturo Toscanini 3135: 3128: 3121: 3114: 3113: 3102: 3095: 3094: 3083: 3076: 3069: 3062: 3055: 3048: 3041: 3039:Neville Marriner 3034: 3027: 3020: 3013: 3006: 3005: 2994: 2987: 2980: 2973: 2966: 2965: 2954: 2947: 2940: 2933: 2926: 2919: 2917:Riccardo Chailly 2912: 2905: 2903:Benjamin Britten 2898: 2897: 2886: 2879: 2872: 2865: 2864: 2853: 2851:Daniel Barenboim 2846: 2839: 2815: 2808: 2801: 2792: 2791: 2755:Barbara Hannigan 2726:Leonidas Kavakos 2667:Daniel Barenboim 2442:Olivier Messiaen 2377:Benjamin Britten 2321: 2314: 2307: 2298: 2297: 2234: 2225: 2198: 2197: 2189: 2183: 2182: 2180: 2178: 2163: 2157: 2156: 2150: 2142: 2135:Hommage A Rampal 2130: 2124: 2123: 2112: 2106: 2100: 2094: 2093: 2067: 2061: 2060: 2059:. Ransom Wilson. 2057:RansomWilson.com 2049: 2043: 2042: 2026: 2017: 2016: 2014: 2012: 1997: 1991: 1990: 1988: 1986: 1970: 1957: 1956: 1944: 1938: 1937: 1929: 1923: 1922: 1908: 1902: 1896: 1890: 1883: 1877: 1867: 1861: 1855: 1849: 1843: 1837: 1831: 1822: 1821: 1819: 1817: 1801: 1795: 1789: 1783: 1778: 1772: 1766: 1760: 1759: 1757: 1755: 1739: 1733: 1732: 1724: 1709: 1708: 1700: 1689: 1683: 1674: 1673: 1671: 1669: 1654: 1648: 1642: 1636: 1630: 1624: 1623: 1604:. Random House. 1603: 1593: 1574: 1573: 1571: 1569: 1554: 1535: 1532: 1526: 1523: 1517: 1507: 1501: 1490: 1484: 1480: 1474: 1469:to premiere the 1465:It was left for 1463: 1457: 1453: 1447: 1444: 1438: 1435: 1429: 1422: 1416: 1413: 1316:Gabriel Bacquier 1125:Ensemble Lunaire 1071:Légion d’Honneur 1016:Eugenia Zukerman 895:Alexander Lagoya 763:Artur Rubinstein 509:Milan Munclinger 377:Gilbert Coursier 365:Jacques Lancelot 339:Washington, D.C. 249:Post-war success 163: 143: 126: 124: 109: 97: 83: 82: 76: 69: 65: 62: 56: 51:to conform to a 40:, rather than a 29: 28: 21: 4095: 4094: 4090: 4089: 4088: 4086: 4085: 4084: 4015: 4014: 4013: 4008: 4001: 3996: 3989: 3982: 3975: 3968: 3963: 3956: 3949: 3942: 3935: 3928: 3921: 3914: 3908: 3901: 3894: 3887: 3882:Beaux Arts Trio 3880: 3875:Amadeus Quartet 3873: 3866: 3855: 3848: 3841: 3834: 3827: 3820: 3813: 3806: 3799: 3792: 3787:Nathan Milstein 3785: 3778: 3771: 3766:Wynton Marsalis 3764: 3757: 3750: 3743: 3738:Steven Isserlis 3736: 3729: 3722: 3717:Arthur Grumiaux 3715: 3708: 3701: 3696:Kyung Wha Chung 3694: 3687: 3680: 3673: 3666: 3659: 3653: 3646: 3641:Grigory Sokolov 3639: 3632: 3625: 3618: 3611: 3604: 3597: 3590: 3583: 3576: 3569: 3562: 3555: 3548: 3541: 3534: 3527: 3520: 3508: 3503:Friedrich Gulda 3501: 3494: 3487: 3480: 3473: 3466: 3461:Martha Argerich 3459: 3452: 3441: 3434: 3427: 3420: 3413: 3408:Joan Sutherland 3406: 3399: 3392: 3385: 3378: 3371: 3364: 3357: 3350: 3343: 3336: 3329: 3322: 3315: 3308: 3301: 3294: 3287: 3280: 3273: 3266: 3259: 3252: 3247:Plácido Domingo 3245: 3238: 3231: 3224: 3217: 3210: 3203: 3196: 3191:Cecilia Bartoli 3189: 3182: 3175: 3168: 3157: 3150: 3138: 3131: 3124: 3117: 3105: 3098: 3086: 3079: 3074:Antonio Pappano 3072: 3065: 3058: 3051: 3044: 3037: 3030: 3023: 3016: 3009: 2997: 2990: 2983: 2976: 2969: 2959:Bernard Haitink 2957: 2950: 2943: 2936: 2931:Gustavo Dudamel 2929: 2922: 2915: 2908: 2901: 2889: 2882: 2875: 2868: 2856: 2849: 2844:John Barbirolli 2842: 2835: 2824: 2819: 2789: 2784: 2743: 2738:Hans Abrahamsen 2684:Cecilia Bartoli 2672: 2601: 2530: 2459: 2388: 2383:Boris Christoff 2347: 2342:Igor Stravinsky 2330: 2325: 2241: 2222: 2206: 2201: 2191: 2190: 2186: 2176: 2174: 2165: 2164: 2160: 2144: 2143: 2132: 2131: 2127: 2113: 2109: 2101: 2097: 2082: 2068: 2064: 2051: 2050: 2046: 2035:William Bennett 2027: 2020: 2010: 2008: 2006:Chicago Tribune 1998: 1994: 1984: 1982: 1971: 1960: 1945: 1941: 1931: 1930: 1926: 1914:The Muppet Show 1910: 1909: 1905: 1897: 1893: 1884: 1880: 1868: 1864: 1856: 1852: 1844: 1840: 1832: 1825: 1815: 1813: 1802: 1798: 1790: 1786: 1779: 1775: 1767: 1763: 1753: 1751: 1740: 1736: 1725: 1712: 1705:The Independent 1701: 1692: 1684: 1677: 1667: 1665: 1656: 1655: 1651: 1643: 1639: 1631: 1627: 1612: 1594: 1577: 1567: 1565: 1555: 1548: 1544: 1539: 1538: 1533: 1529: 1524: 1520: 1508: 1504: 1491: 1487: 1481: 1477: 1464: 1460: 1454: 1450: 1445: 1441: 1436: 1432: 1423: 1419: 1414: 1410: 1405: 1397:The Joy of Bach 1383: 1363: 1245: 1168:Nagayo Motohori 1099: 1050: 1004: 979: 967:Robert Stallman 960:William Bennett 940:Chicago Tribune 936: 867:The Muppet Show 794: 773: 750:Francis Poulenc 728:Violin Concerto 696:Charles Chaynes 477: 408: 251: 235:Gaston Crunelle 196: 188:Francis Poulenc 173: 161: 145: 141: 128: 122: 120: 107: 88: 77: 66: 60: 57: 53:higher standard 46: 30: 26: 17: 12: 11: 5: 4093: 4083: 4082: 4077: 4072: 4067: 4062: 4057: 4052: 4047: 4042: 4037: 4032: 4027: 4010: 4009: 4007: 4006: 3999: 3994: 3987: 3980: 3973: 3966: 3964:Alain Lanceron 3961: 3954: 3947: 3944:C. Robert Fine 3940: 3933: 3930:Bernard Coutaz 3926: 3923:Emile Berliner 3918: 3916: 3910: 3909: 3907: 3906: 3899: 3896:Takács Quartet 3892: 3885: 3878: 3871: 3863: 3861: 3857: 3856: 3854: 3853: 3846: 3843:Andrés Segovia 3839: 3832: 3825: 3818: 3815:Itzhak Perlman 3811: 3808:Emmanuel Pahud 3804: 3801:David Oistrakh 3797: 3790: 3783: 3780:Yehudi Menuhin 3776: 3773:Albrecht Mayer 3769: 3762: 3755: 3748: 3745:Fritz Kreisler 3741: 3734: 3731:Heinz Holliger 3727: 3724:Jascha Heifetz 3720: 3713: 3706: 3699: 3692: 3685: 3678: 3671: 3663: 3661: 3655: 3654: 3652: 3651: 3648:Mitsuko Uchida 3644: 3637: 3634:Artur Schnabel 3630: 3623: 3616: 3609: 3602: 3595: 3592:Murray Perahia 3588: 3581: 3574: 3567: 3560: 3553: 3546: 3543:Wilhelm Kempff 3539: 3532: 3525: 3518: 3506: 3499: 3492: 3485: 3482:Alfred Brendel 3478: 3471: 3464: 3457: 3449: 3447: 3443: 3442: 3440: 3439: 3432: 3425: 3422:Kiri Te Kanawa 3418: 3415:Renata Tebaldi 3411: 3404: 3397: 3394:Leontyne Price 3390: 3383: 3376: 3369: 3366:Birgit Nilsson 3362: 3355: 3348: 3341: 3338:Jonas Kaufmann 3334: 3327: 3320: 3313: 3306: 3303:Thomas Hampson 3299: 3292: 3285: 3278: 3271: 3264: 3257: 3250: 3243: 3240:Joyce DiDonato 3236: 3229: 3222: 3215: 3208: 3201: 3198:Jussi Björling 3194: 3187: 3180: 3173: 3165: 3163: 3159: 3158: 3156: 3155: 3148: 3136: 3129: 3122: 3115: 3103: 3096: 3084: 3081:Trevor Pinnock 3077: 3070: 3067:Eugene Ormandy 3063: 3056: 3049: 3042: 3035: 3028: 3021: 3018:Rafael Kubelík 3014: 3011:Otto Klemperer 3007: 2999:Carlos Kleiber 2995: 2988: 2985:Mariss Jansons 2981: 2974: 2967: 2955: 2948: 2941: 2934: 2927: 2920: 2913: 2906: 2899: 2887: 2880: 2873: 2866: 2858:Thomas Beecham 2854: 2847: 2840: 2837:Claudio Abbado 2832: 2830: 2826: 2825: 2818: 2817: 2810: 2803: 2795: 2786: 2785: 2783: 2782: 2779:Emmanuel Pahud 2776: 2773:Evelyn Glennie 2770: 2764: 2758: 2751: 2749: 2745: 2744: 2742: 2741: 2735: 2732:Mariss Jansons 2729: 2723: 2717: 2711: 2705: 2699: 2693: 2690:Kaija Saariaho 2687: 2680: 2678: 2674: 2673: 2671: 2670: 2664: 2658: 2652: 2646: 2640: 2634: 2628: 2625:Alfred Brendel 2622: 2616: 2609: 2607: 2603: 2602: 2600: 2599: 2593: 2587: 2581: 2575: 2569: 2563: 2557: 2551: 2545: 2538: 2536: 2532: 2531: 2529: 2528: 2522: 2519:Peter Schreier 2516: 2513:Heinz Holliger 2510: 2504: 2498: 2492: 2489:Rafael Kubelík 2486: 2480: 2474: 2467: 2465: 2461: 2460: 2458: 2457: 2451: 2445: 2439: 2436:Mogens Wöldike 2433: 2427: 2424:Andrés Segovia 2421: 2415: 2412:Yehudi Menuhin 2409: 2403: 2396: 2394: 2390: 2389: 2387: 2386: 2380: 2374: 2368: 2365:Birgit Nilsson 2362: 2355: 2353: 2349: 2348: 2346: 2345: 2338: 2336: 2332: 2331: 2324: 2323: 2316: 2309: 2301: 2295: 2294: 2289: 2283: 2277: 2272: 2264: 2255: 2249: 2240: 2239:External links 2237: 2236: 2235: 2226: 2220: 2205: 2202: 2200: 2199: 2184: 2173:. 10 June 2000 2158: 2125: 2116:Alain, Lompech 2107: 2095: 2080: 2062: 2044: 2018: 1992: 1958: 1939: 1924: 1903: 1891: 1878: 1862: 1850: 1838: 1823: 1796: 1784: 1773: 1761: 1734: 1710: 1690: 1675: 1649: 1637: 1625: 1610: 1600:Music, My Love 1575: 1545: 1543: 1540: 1537: 1536: 1527: 1518: 1502: 1485: 1475: 1458: 1448: 1439: 1430: 1417: 1407: 1406: 1404: 1401: 1390:L. Subramaniam 1382: 1379: 1362: 1359: 1358: 1357: 1346: 1341: 1333: 1328: 1323: 1306: 1301: 1296: 1284:Bernard Gavoty 1268: 1260: 1255: 1244: 1241: 1164:Kozaburo Hirai 1160:Ryūtarō Hirota 1127:, he recorded 1112:New York Times 1098: 1095: 1049: 1046: 1012:Jacques Chirac 1003: 1000: 996:Music, My Love 978: 975: 935: 932: 923:New York Times 847:Claude Bolling 811:Lincoln Center 793: 790: 772: 767: 732:Alan Hovhaness 577:David Oistrakh 476: 475:Collaborations 473: 448:New York Times 407: 404: 311:Flute Concerto 269:, written for 250: 247: 195: 192: 172:Musical artist 171: 168: 167: 164: 158: 157: 152: 148: 147: 144:(aged 78) 138: 134: 133: 127:7 January 1922 118: 114: 113: 110: 104: 103: 99: 98: 90: 89: 86: 79: 78: 33: 31: 24: 15: 9: 6: 4: 3: 2: 4092: 4081: 4078: 4076: 4073: 4071: 4068: 4066: 4063: 4061: 4058: 4056: 4053: 4051: 4048: 4046: 4043: 4041: 4038: 4036: 4033: 4031: 4028: 4026: 4023: 4022: 4020: 4004: 4000: 3995: 3992: 3988: 3985: 3981: 3978: 3974: 3971: 3967: 3962: 3959: 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1055: 1045: 1043: 1038: 1034: 1032: 1028: 1026: 1022: 1017: 1013: 1008: 999: 997: 993: 983: 974: 972: 971:Ransom Wilson 968: 963: 961: 955: 951: 948: 943: 941: 931: 928: 924: 920: 916: 915: 910: 909:Warren Beatty 906: 905: 900: 896: 892: 888: 884: 879: 877: 873: 869: 868: 863: 859: 857: 852: 848: 844: 840: 837: 833: 829: 822: 818: 814: 812: 803: 798: 789: 786: 782: 778: 771: 766: 764: 760: 755: 751: 746: 744: 743:Pierre Boulez 740: 735: 733: 729: 725: 721: 717: 716:David Diamond 713: 712:Ezra Laderman 709: 708:Aaron Copland 705: 701: 700:Maurice Ohana 697: 693: 689: 688:Antoine Tisné 685: 681: 677: 676:Jean Martinon 674:, 1957), and 673: 669: 668:Jindřich Feld 665: 661: 660:André Jolivet 657: 653: 652:Jean Françaix 649: 645: 641: 638: 634: 629: 627: 623: 619: 615: 611: 607: 603: 599: 595: 591: 587: 583: 578: 574: 570: 566: 562: 558: 554: 550: 544: 542: 538: 534: 530: 526: 522: 518: 514: 510: 506: 502: 498: 494: 490: 486: 482: 472: 470: 465: 461: 458: 453: 449: 444: 442: 438: 432: 430: 429:chamber works 426: 422: 418: 414: 403: 401: 396: 394: 390: 386: 382: 378: 374: 370: 366: 363: 359: 354: 352: 348: 347:New York City 344: 340: 336: 332: 328: 324: 320: 315: 312: 308: 303: 299: 295: 291: 287: 283: 279: 274: 272: 268: 267:Jacques Ibert 264: 260: 256: 246: 244: 240: 236: 232: 227: 225: 219: 215: 213: 209: 205: 204:Joseph Rampal 201: 191: 189: 185: 181: 177: 165: 159: 156: 153: 149: 146:Paris, France 139: 135: 131: 119: 115: 111: 105: 100: 96: 91: 84: 75: 72: 64: 54: 50: 44: 43: 39: 34:This article 32: 23: 22: 19: 3991:Richard Mohr 3977:Edward Lewis 3970:Walter Legge 3937:John Culshaw 3836:Jordi Savall 3821: 3752:Gidon Kremer 3710:James Galway 3689:Pablo Casals 3682:Julian Bream 3675:Dennis Brain 3571:Dinu Lipatti 3446:Keyboardists 3212:Maria Callas 3170:Thomas Allen 3152:Bruno Walter 3126:George Szell 3100:Fritz Reiner 3088:Simon Rattle 3025:James Levine 2891:Adrian Boult 2708:Martin Fröst 2702:Simon Rattle 2696:Jordi Savall 2572:Yuri Bashmet 2548:Eric Ericson 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