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Baroque

Baroque

Classical

Romantic

20th century

21st century

Solo repertoire

Piccolo

Alto flute

Bass flute

Hotteterre Jacques-Martin

Albinoni, Tomaso Giovanni

Bach, Carl Philipp Emanuel

Bach, Johann Sebastian

Bach, Wilhelm Friedmann

Barre, Michel de la

Benda, Franz

Blavet, Michel

Boccherini, Luigi

Boismortier, Joseph Bodin de

Čart, Jiří

Chédeville, Nicolas

Corelli, Arcangelo

Corrette, Michel

Couperin, François

Handel, George Frideric

Hotteterre, Jacques-Martin

Leclair, Jean-Marie l'aîné

Locatelli, Pietro Antonio

Loeillet (de Gant), Jean-Baptiste

Marais, Marin

Marc, Thomas

Marcello, Benedetto

Martini, Giovanni Battista

Müthel, Johann Gottfried

Pachelbel, Johann

Pergolesi, Giovanni Battista

Platti, Giovanni Benedetto

Quantz, Johann Joachim

Telemann, Georg Philipp

Tromlitz, Johann George

Vitali, Tomaso Antonio

Vivaldi, Antonio

Suite in D Major No. 1, Op. 2

Suite in D Major No. 1, Op. 2

By Hotteterre Jacques-Martin

Jacques-Martin Hotteterre: Suite in D Major No. 1, Op. 2 for flute and piano was written in 1708 and published the same year in Paris by Christophe Ballard. It is the opening work of his Premier livre de pièces pour la flûte-traversière et autres instruments avec la basse, published as Opus 2. Though commonly performed with piano today, it was originally written for transverse flute and basso continuo (typically harpsichord and viola da gamba or cello).
The whole collection is dedicated to the King of France (Louis XIV).
Hotteterre, known as "Le Romain," was a member of a famous family of wind instrument makers and performers. Following his 1707 treatise on flute playing (the first of its kind), this 1708 collection was his first published book of chamber music.
Hotteterre held positions in the "Grands Hautbois" and the "King’s Chamber", where he likely premiered these works for the French court and elite Parisian circles.
Hotteterre and Michel de la Barre were both part of a "transitional" generation that revolutionized the flute, and they both were Ordinaires de la Musique du Roi, often playing alongside other Baroque masters of that time like François Couperin, Marin Marais, and Antoine Forqueray.
While Michel de la Barre was primarily recognized as the first great soloist and composer for the instrument, Hotteterre was renowned for his pedagogical and technical influence. He authored the world's first flute manual (1707) and belonged to a famous family of instrument makers who physically perfected the flute.

Christina Fassbender

Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH

1. Prélude

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Christina Fassbender

Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH

2. Allemande "La Royalle"

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Christina Fassbender

Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH

3. Rondeau "Le Duc d'Orleans"

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Christina Fassbender

Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH

4. Sarabande "La d'Armagnac"

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Christina Fassbender

Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH

5. Gavotte "La Meudon"

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Christina Fassbender

Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH

6. Menuet "Le Comte de Brione"; 2E Menuet

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Christina Fassbender

Gregor Hollmann (harpsichord), 2019, ambitus / Kontor New Media GmbH

7. Gigue "La Folichon"

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Hotteterre Jacques-Martin

Jacques-Martin Hotteterre (1674–1763), often nicknamed "Le Romain" due to an early period he spent in Rome, was the most illustrious member of a famous French dynasty of wind instrument makers and musicians, and a central figure in the development of the transverse flute during the Baroque era. Hotteterre is remembered as the architect of the French Flute School.
The Hotteterre family is credited with redesigning the Renaissance flute into the three-piece one-keyed Baroque flute, which offered better intonation and a more consistent tone.
He held several prestigious titles at the French court, including Ordinaire de la musique de la chambre du Roi and a position in the Grande Écurie (Great Stable) as a performer on the oboe and musette.
In 1707, he published Principes de la flûte traversière, the first instructional manual specifically for the transverse flute. It remains a primary source for historical performance practice today, detailing articulation, ornamentation, and tonguing. His most significant musical works are his two books of suites for flute and basso continuo (Op. 2, 1708; and Op. 5, 1715).