the first musical groups to bring to light the chamber repertoire of the 18th century. 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, Cimarosa, Sammartini, and Pergolesi (often collaborating with Claudio Scimone and I Solisti Veneti), and French composers including Devienne, Leclair, and 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 an award-winning recording of flute concertos by Benda and 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, 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. 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. Aside from recording familiar composers such as Mozart, Schumann, and Schubert, Rampal also helped bring the works of composers such as Reinecke, Gianella, and Mercadante back into view. Additionally, while the Baroque had provided the platform for his revival of the flute, Rampal was well aware that the health of its continuing appeal depended on him and others displaying the whole range of the repertoire. 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