Sonata No 4 for flute and continuo, Op. 3

Michel Blavet (1700–1768) was the most celebrated French flute virtuoso of the 18th century. He is credited with transforming the flute from a pastoral instrument into a serious solo vehicle, rivaling the violin in technical brilliance.
Born in Besançon, France, in a family of a woodturner, he was largely self-taught on the flute. He originally played the bassoon but switched to the flute, reportedly holding the instrument to the left side (left-handed), a practice he maintained throughout his life despite the standard right-handed orientation.
By 1723, his reputation had reached Paris, where he was recruited by the Duke of Lévis. His rise was meteoric. Within three years, he became a star of the Concert Spirituel, the first major public concert series in Europe, and was admired by everyone, including Voltaire. Blavet held the most prestigious musical posts in France. In 1738, he became a member of the Musique du Roi (The King’s Music) under Louis XV, and in 1740, he was appointed Principal Flute of the Paris Opéra orchestra. His fame was so great that Frederick the Great of Prussia offered him a massive salary to join his court in Potsdam. Blavet declined, preferring to remain in the cultural center of Paris.
In 1738, he collaborated with Georg Philipp Telemann during the latter’s visit to Paris, premiering the famous Paris Quartets. Telemann praised Blavet as one of the finest musicians he had ever encountered.
Blavet’s music successfully blended the French style (characterized by elegance, dance rhythms, and delicate ornamentation) with the Italian style (known for its technical virtuosity and driving concerto forms).
He helped standardize the transverse flute over the recorder in France. His pedagogical influence was immense, as he simplified complex Italian techniques to make them accessible to French players and amateurs.