Fantasia on the theme of C.M.Weber's "Der Freischütz"

Paul Taffanel (1844-1908) was a French flutist, conductor, and composer, recognized as the "father of the modern French Flute School." His pedagogical reforms and advocacy for the silver flute fundamentally reshaped woodwind playing globally.
Born in Bordeaux, France, in a family of a flute and cello teacher, Claude-Paul Taffanel. His father was his first teacher and provided him with a solid foundation in the "old style" of flute playing.
He gave his first public concert at age 10. Recognizing his extraordinary talent, his father sent him to the Paris Conservatoire at age 14. There, he studied under the legendary Louis Dorus, who was a pioneer in adopting the Boehm system flute. Just a few years later, at age 16, Taffanel won the Conservatoire's Premier Prix.
At age 20, Taffanel was appointed to the orchestra of the Paris Opéra, where he eventually rose to the position of principal flutist. Throughout his 20s, he established himself as the foremost soloist of his time, famously utilizing the silver Boehm system flute to achieve a wider range of tone colors and brilliance. At age 30, in 1874, he published his first significant success, the Grande Fantaisie sur Mignon, which he dedicated to his father.
By 1874, Taffanel was serving as the principal flutist of both the Paris Opéra and the Société des Concerts du Conservatoire. In 1876, he founded the Société de Musique de Chambre pour Instruments à Vent (Chamber Music Society for Wind Instruments).
In 1893, he became the Professor of Flute at the Paris Conservatoire. There, he profoundly changed teaching methodology and greatly influenced flute repertoire. He's considered the founder of the French Flute School, advocating tone quality and vibrato, fully taking advantage of the technical capabilities of Boehm's modern flute, inspiring his students to play in a new, more subtle way with light vibrato (discouraging use of vibrato when playing early music, though).
Additionally, Taffanel completely changed the way masterclasses were held, focusing attention on an individual student. His legacy and impact on flute continue through his method book for flute: "17 Grands exercices journaliers de mécanisme" which was finished by his students L. Fleury and P. Gaubert after his death.