This release transports us back to French high society in the 17th and 18th centuries, featuring music permeated with all the sophistication and grace that the era entailed. The predecessor to the modern flute is known as the flauto traverso. The recorder meanwhile was at the time considered to be another type of flute, and was identified using various terms including flauto dolce, flautto diritto and Blockflöte. The varying terminology has proved confusing for modern performers, who have often forgone the traverso or recorder in favour of the modem flute. The early music revival of the 20th century has led to a renewed effort to perform music on the composer's intended instruments. This collection follows in the same vein, as the performers here strive to recreate the pieces and remain faithful to how the composer envisioned them.

The set opens with a selection of pieces by François Couperin (1668-1733), who rejected nationalism in his music in favour of cross-cultural European integration. Le Parnasse, ou L'Apothéose de Corelli and Les Nations are unique in their blending of French and Italian styles. As well as better-known figures such as Visée and Boismortier, this set introduces us to composers outside the mainstream. This release features new recordings of the overlooked composer Jean-Daniel Braun from award-winning performer and conductor Jed Wentz and his ensemble Musica ad Rhenum. Little is known of Braun, except that he was likely a member of the court orchestra in Paris. His musical expertise is reflected in highly technical and precise writing, and he brings out the characteristic gentle and lyrical sound of the traverso with sweet and expressive melody writing.

The flute music of instrument-maker Jacques-Martin Hotteterre (1674-1763) is also a standout contribution to this set, and the prelude from L'Art de préluder, op.7, has a haunting and melancholy opening. Meanwhile, the 3rd and 5th suites were left without preludes, so the flautist Guillermo Peñalver has composed one for Suite no.3, while Tony Millán has composed a Rameau-style movement to begin the Suite no.5 followed by themes arranged from a Couperin prelude.

The traverso has been prized for centuries for its pure tonal quality, free from overtones or harmonics, but today languishes as an instrument confined to the history books. This set celebrates the history of the instrument and brings it to life in these new recordings.