Michel Blavet

Born on March 13, 1700, in Besançon, Province of as the son of wood turner Jean-Baptiste Blavet, (though one source says he was baptised, rather than born on March 13) a profession which he followed for some time, he accidentally became the possessor of a flute 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. 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 1726 he joined the Duke of Carignan and took part in the newly formed Concert Spirituel for the first time. On 1 October 1728 Louis XV granted Blavet a privilege to publish flute sonatas for a period of six years, but by 1731 he had transferred to the service of Louis, Count of Clermont and became his steward of music. In 1728 he published his first book of flute music, containing six sonatas for two flutes without bass. From 1731 to 1735, he performed at the Concert Spirituel with Jean-Marie Leclair, Jean-Pierre Guignon, Jean-Joseph de Mondonville, Jean-Baptiste Senaillé, and Jacques Aubert. 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. 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 quartets by Telemann. 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 a French comic opera, Le Jaloux corrigé. 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. 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. He died in Paris in 1768.

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). His surviving works are written only in the easiest keys, since he published them for amateurs to play.