He made the instrument seem sexy, even to a 12-year-old, and for a while back then he seemed to be on every television programme.

His solo career began in 1975 but had been preceded by performances with renowned ensembles such as The Sadler's Wells and Royal Covent Garden Operas, The Royal Philharmonic and London Symphony Orchestras and ended with his installation as solo flautist with the Berlin Philharmonic.

On Tuesday I took my seat in a completely sold out Lynn Corn Exchange. The stage was bare except for a single microphone, music on a stand and the imposing black Steinway usually under cover in the Guildhall Green Room.

The night's programme was neatly divided, with a first half of classical flute compositions and a second half dominated by variations on opera pieces.

We began with the three movements of the Sonata for Flute and Piano by Poulenc, followed by the wonderful Petite Suite En Bateau by Debussy.

The third piece of the pre-interval selection was Clair de Lune, again by Debussy, and Sir James justified its inclusion by explaining how its images of a moonlight night evoked memories of Belfast.

We concluded the first session with the four magical movements of Charles-Marie Widor's Suite for Flute and Piano, Op. 34 which were warmly received.

The second half contained more popularist pieces and began with the Grand Fantasy on Themes from Mignon by Taffenel.

This was followed by the instantly-recognisable melodies of Rigoletto contained within Rigoletto Fantasie, Duo Concertant, Op. 38 for two flutes and a piano with Sir James being joined by his wife Lady Jeanne.

The second half ended with my favourite presentation of the main selection, being French flautist Francois Borne's Fantasie Brillianate on Bizet's Carmen. I have long considered the music of Carmen to be vastly superior to the lyrics and this variation on those most memorable of tunes really rounded off the evening beautifully. Having said that, I confess that as one of three encore pieces the incredibly emotional rendition of Danny Boy really stole the show and almost had me in tears.

Sir James took a few minutes between pieces to briefly explain what they were and he also threw in a few amusing stories to help things along. He did ask for it not to be reported, but it seems that Mozart had originally intended a career as a footballer!

With sensitive accompaniment by Michael McHale on piano the musicianship was flawless.

When Sir James stopped and restarted one piece as a result of humidity affecting his flute, you began to realise what a perfectionist he is.

A wonderful evening for aficionados of the flute, devotees of opera and classical music, and anyone of my age who has such fond memories of one very special man and his music.