Editing Jean-Pierre Rampal (section)

=== Collaborations ===
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 [[Tartini]], [[Domenico Cimarosa|Cimarosa]], [[Giovanni Battista Sammartini|Sammartini]], and [[Giovanni Battista Pergolesi|Pergolesi]] (often collaborating with Claudio Scimone and I Solisti Veneti), and French composers including [[François Devienne|Devienne]], [[Jean-Marie Leclair|Leclair]], and [[Jean Baptiste Loeillet of Ghent|Loeillet]], 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 [[Milan Munclinger]] resulted in a recording of flute concertos by [[Franz Benda|Benda]] and [[Franz Xaver Richter|Richter]]. In 1956, with Louis Froment, he recorded concertos in A minor and G major by [[C.P.E. Bach]]. Other composers of the era, such as [[Haydn]], [[Handel]], [[Johann Stamitz|Stamitz]], and [[Quantz]], 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 [[Boismortier]].  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.{{Citation needed|date=September 2023}}

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.<ref>[[#Verroust|Verroust]], p. 35</ref> Aside from recording familiar composers such as [[Mozart]], [[Robert Schumann|Schumann]], and [[Schubert]], Rampal also helped bring the works of composers such as [[Carl Reinecke|Reinecke]], [[Louis Gianella|Gianella]], and [[Saverio Mercadante|Mercadante]] 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 [[Prokofiev]]'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 [[David Oistrakh]] to achieve the best result;<ref>according to Rampal’s own account in a radio interview he gave in April 1969 for Chicago classical music station [[WUSN|WEFM]] – contained on CD&nbsp;16 of ''JP Rampal: The Complete HMV Recordings: "A Conversation with Jean-Pierre Rampal"''</ref> 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 [[Debussy]], [[Ravel]], [[Albert Roussel|Roussel]], [[Ibert]], [[Darius Milhaud|Milhaud]], [[Bohuslav Martinů|Martinů]], [[Hindemith]], [[Honegger]], [[Paul Dukas|Dukas]], [[Jean Françaix|Françaix]], [[Jean-Michel Damase|Damase]], and [[Jindřich Feld|Feld]].

As a chamber musician, he continued to collaborate with numerous other soloists, forming collaborations with violinist [[Isaac Stern]] and [[cello|cellist]] [[Mstislav Rostropovich]].{{Citation needed|date=September 2023}} A number of composers wrote especially for Rampal, including [[Henri Tomasi]] (''Sonatine pour flûte seule'', 1949), [[Jean Françaix]] (''Divertimento'', 1953), [[André Jolivet]] (''Concerto'', 1949), [[Jindřich Feld]] (''Sonata'', 1957), and [[Jean Martinon]] (''Sonatine'').{{Citation needed|date=September 2023}} Others included [[Jean Rivier]], [[Antoine Tisné]], [[Serge Nigg]], [[Charles Chaynes]], and [[Maurice Ohana]].{{Citation needed|date=September 2023}} In addition, he premiered a works by contemporary composers such as [[Leonard Bernstein]], [[Aaron Copland]], [[Ezra Laderman]], [[David Diamond (composer)|David Diamond]], and [[Krzysztof Penderecki]].{{Citation needed|date=September 2023}} His transcribing in 1968, at the composer's own suggestion, of [[Aram Khachaturian]]'s [[Violin Concerto (Khachaturian)|Violin Concerto]] (recorded 1970) showed Rampal's willingness to broaden the flute repertoire further by borrowing from other instruments. In 1978, the Armenian-American composer [[Alan Hovhaness]] 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.{{Citation needed|date=September 2023}}

The only piece dedicated to Rampal that he never publicly performed was the ''Sonatine'' (1946) by [[Pierre Boulez]], which—with its spiky, explosive figures and extravagant use of flutter-tonguing—he found too abstract for his taste.<ref group=nb>It was left for [[Severino Gazzelloni]] to premiere the ''Sonatine'' in 1954.</ref> Elsewhere, when sometimes criticised for not playing enough contemporary avant-garde work—"Avant garde of what?" he would ask<ref>Interview by Peter Griffiths for the BBC Radio 4 documentary ''Rampal–Prince of Flute Players'', broadcast 11 October 1983</ref>—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."<ref name="independent"/>

One piece in particular, written with Rampal in mind, has since become a modern standard in the essential flute repertoire. Rampal's compatriot [[Francis Poulenc]] was commissioned by the [[Coolidge Foundation]] 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".{{attribution needed|date=November 2010}} The official world premiere of Poulenc's Sonata for Flute and Piano was performed on 17 June 1957 by Rampal, accompanied by the composer, at the [[Strasbourg Festival]]. Unofficially, however, they had performed it a day or two earlier to a distinguished audience of one: the pianist [[Artur Rubinstein]], 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.{{Citation needed|date=March 2022}}