Michel Blavet (March 13, 1700 – October 28, 1768) was a French composer and flutevirtuoso. Although Blavet taught himself to play almost every instrument, he specialized in the bassoon and the flute which he held to the left,[citation needed] the opposite of how most flutists hold theirs today.
Quantz wrote of Blavet: "His amiable disposition and engaging manner gives rise to a lasting friendship between us and I am much indebted to him for his numerous acts of kindness."[This quote needs a citation]
Born on March 13, 1700, in Besançon as the son of wood turner Jean-Baptiste Blavet,[1][2] (though one source says he was baptised, rather than born on March 13)[3] a profession which he followed for some time, he accidentally became the possessor of a flute[clarification needed][citation needed] and soon became the finest player in France. Blavet was famous for maintaining impeccable intonation, even when he played in difficult keys, and for the beauty of his tone.[4]Voltaire expressed his admiration for his playing and Marpurg spoke of him as a virtuoso of the highest excellence who preserved his innate modesty despite his unbroken popularity.
In 1738, Blavet became the principal flute in Louis XV's personal musical ensemble, the "Musique du Roi", and in 1740 at the Paris Opera orchestra.[1] He played in the quartet (flute – Blavet, violin – Guignon, viola da gamba – Forqueray the younger, cello – Édouard) that played the premiere performance of the Paris quartetsbyTelemann.[4] Blavet turned down a post in Frederick the Great's court, which Quantz eventually accepted after the pay had been increased significantly. In 1752 Blavet modeled on Italian interludes the first French comic opera, Le Jaloux corrigé.[1] He also wrote a march for the Grande-Loge, having joined the Masons under the influence of the Comte de Clermont who was Grand Master of the Order in France.[1] Blavet's three Recueils for two flutes are undated, but internal evidence suggests that they come from the early 1750s. The breathing marks (h, for haliene) indicated in the Recueils and his op. 2 remain an invaluable aid in understanding eighteenth-century French musical phrasing.[5] He died in Paris in 1768.[1]
Blavet wrote primarily for the transverse flute, in the so-called 'Italian' as well as the French style. His surviving works include a concerto and three books of sonatas (1740).[n 1]
His surviving works are written only in the easiest keys, since he published them for amateurs to play.
Six sonatas for two flutes without bass, Opus 1 (1728)
Six sonatas for flute and continuo, Op 2 (1732)
Nr. 1 in G major L'Henriette
Nr. 2 in D minor La Vibray
Nr. 3 in e minor La Dherouville
Nr. 4 in g minor La Lumagne
Nr. 5 in D major La Chauvet
Nr. 6 in a minor Le Bouget
Concerto in A minor for flute and strings (without viola) (1745, 1954 rediscovered).[n 2]
Four operas, of which only Le Jaloux Corrigé (1752) survived.[n 3]
Le jaloux corrigé (1752)
Floriane ou la grotte des Spectacles (1752)
Les Jeux olympiques (1753)
La Fête de Cythère (1753)
Arrangements and original compositions for two flutes
Premier recueil de pièces accomodé pour les flûtes traversières; Deuxième recueil de pièces accomodé pour les flûtes traversières; Troisième recueil de pièces accomodé pour les flûtes traversières. Paris s.d.
^A selection of Blavet's sonatas was published in 1908 in New England. Several arrangements have appeared in Blavet's works for the recorder (soprano and alto).
^It has some of the composer's elaborate cadences, sounding over a pedal point.
^Blavet was the first composer of a French comic opera.
^ abNeal Zaslaw, "Blavet, Michel", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
