Pieces whose origin is from the French School, in my opinion, is crtical to a flutists development. While all flutists can benefit, but if you're on a professional track, I think it's essential. 1) You learn how to count. This is not Bach or Mozart where everything is mostly on the down or upbeat 2) You learn to be smooth: Whether it be Chaminade, Hue, Gannes, et. al. you need to make sure that those nontuplets, followed by an Octuplet, followed by a decatuplet doesn't "feel" like you're using a metronome. I remember once finally getting those odd tuplets smooth and the FEEL was like waves in the Ocean. Fast waves, followed by more languid ones. You need to create the Experience for the user. 3) For me, there's something about the French School that has me think "Mood". Some notes need to be full and expressive; while some notes might benefit from a more ethereal sound. Take the opening to the Enesco. All pieces should be played with accuracy and feel, but there's something about the French School where "Mood" and/or "Feel" play a huge role ... on top of the technical challenges. You get all those elements working together and baby, you're a star (well, in my book anyway)