It has been more than 150 years since Theobald Boehm created the Boehm system flute—a flute made of metal, offering vastly superior intonation compared to earlier designs. The Boehm flute featured a lighter and more agile mechanism than any flute previously known. This remarkable innovation, in my view, laid the groundwork for the emergence of the French School of flute playing.

At the time, the Paris Conservatoire was fostering a prevailing style of flute playing and teaching, spearheaded by the leading teacher Altes. One of Altes’ more notable pupils was the flautist and composer Tulou, renowned for his heavy, sentimental, virtuoso salon pieces. However, in 1860, Altes was joined—and later challenged—by Louis Dorus, a flautist who had been playing the new Boehm flute (mockingly nicknamed “the Gas Pipe” by wooden flute enthusiasts) since its inception. Dorus rigidly insisted that all his pupils adopt the Boehm flute, causing quite a stir within the musical community.

It soon became evident, however, that the virtuosic works of Tulou and Boehm were significantly more playable on the new instrument. Flutists began developing the fluid techniques, tonal variety, and dynamic range that became hallmarks of successful players from the Paris Conservatoire. These qualities are still emulated today by those who admire the versatility and expressive qualities of the metal flute.

The most famous pupil of Dorus was Taffanel, widely regarded as the “Father of the French School.” Taffanel won his Première Prix at the age of 16, joined the Opéra Comique at 18, and became Principal Flute of the Opéra de Paris by the age of 20. Later, he performed for the Société des Concerts, solidifying his reputation as a virtuoso and exceptional musician.

According to an 1895 edition of L’Édition Artiste, Taffanel would be “forever hallowed as the unrivalled Paganini of the flute.” His tone was celebrated for its unique qualities: powerful and brassy in the low register, yet refined, sensitive, and flexible. Gaubert described Taffanel’s tone as “full and homogenous throughout the entire range of the instrument,” a defining characteristic of the French School.

Once established as a preeminent flautist, Taffanel demonstrated his integrity as a musician by revisiting and championing major classical and Baroque works that had been neglected by earlier generations of flutists. These predecessors often favored florid virtuoso compositions by figures such as Demersseman and Tulou. The new Boehm flute provided the technical capability to explore these older works with newfound depth and expressiveness.

Unfortunately, no recordings of Taffanel himself exist, and there are few recordings from this early period. However, one may take interest in the work of Hennebains, a pupil of Altes and a flautist known for his charm and finesse. Hennebains succeeded Taffanel as solo flute of the Opéra in 1891, leaving a small but valuable legacy that offers a glimpse into this transformative period in flute history.