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Baroque

Baroque

Classical

Romantic

20th century

21st century

Solo repertoire

Piccolo

Alto flute

Bass flute

Leclair Jean-Marie l'aîné

Albinoni, Tomaso Giovanni

Bach, Carl Philipp Emanuel

Bach, Johann Sebastian

Bach, Wilhelm Friedmann

Barre, Michel de la

Benda, Franz

Blavet, Michel

Boccherini, Luigi

Boismortier, Joseph Bodin de

Čart, Jiří

Chédeville, Nicolas

Corelli, Arcangelo

Corrette, Michel

Couperin, François

Handel, George Frideric

Hotteterre, Jacques-Martin

Leclair, Jean-Marie l'aîné

Locatelli, Pietro Antonio

Loeillet (de Gant), Jean-Baptiste

Marais, Marin

Marc, Thomas

Marcello, Benedetto

Martini, Giovanni Battista

Müthel, Johann Gottfried

Pachelbel, Johann

Pergolesi, Giovanni Battista

Platti, Giovanni Benedetto

Quantz, Johann Joachim

Telemann, Georg Philipp

Tromlitz, Johann George

Vitali, Tomaso Antonio

Vivaldi, Antonio

Sonata for flute in G Major (Op 9, No 7)

By Leclair Jean-Marie l'aîné

J.M. Leclair the Elder: Flute Sonata in G Major (Op 9, No 7) is one of the 48 sonatas Leclair composed for violin or German flute (“Cette Sonate peut se jouer sur la Flûte Allemande”).

This sonata is part of Leclair's Op. 9 collection, which was published in 1743, during a time when the French Baroque style was characterized by its ornate and expressive qualities.

In the mid-18th century, the term "German flute" referred to the transverse flute, which was distinct from the recorder, often called the "English flute" or "flûte douce." The German flute was gaining popularity across Europe, including France, due to its expressive capabilities and dynamic range.

For a French composer like Jean-Marie Leclair, the German flute represented a modern and versatile instrument that allowed for greater musical expression. Leclair, known for his elegant and technically demanding compositions, most likely appreciated the German flute's ability to produce a wide range of dynamics and articulations, which suited the ornate and expressive style of French Baroque music.

Jürgen Franz

Thomas Haberlah (cembalo), live recording. 2016.

1. Dolce: Andante; 2. Allegro ma non troppo; 3. Aria: Affettuoso; 4. Giga: Allegro moderato

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Barthold Kuijken

Robert Kohnen (harpsichord), Wieland Kuijken (viola da gamba), 1984, Accent

1. Dolce: Andante

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Barthold Kuijken

Robert Kohnen (harpsichord), Wieland Kuijken (viola da gamba), 1984, Accent

2. Allegro ma non troppo

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Barthold Kuijken

Robert Kohnen (harpsichord), Wieland Kuijken (viola da gamba), 1984, Accent

3. Aria: Affettuoso

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Barthold Kuijken

Robert Kohnen (harpsichord), Wieland Kuijken (viola da gamba), 1984, Accent

4. Giga: Allegro moderato

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Leclair Jean-Marie l'aîné

Jean-Marie Leclair l'aîné (the elder) (1697-1764) was a renowned French violinist and composer considered the founder of the French school of violin writing, inventing the left-hand tremolo, which later evolved into vibrato.
Born in Lyon, France, Jean-Marie was the eldest of eight children, many of whom went on to become professional musicians. His father was a master lacemaker and a cellist, ensuring an upbringing steeped in both craftsmanship and music. Leclair’s first professional career was as a dancer. In his youth, he excelled in both dance and lace-making. In 1716, he was hired as a dancer at the opera house in Lyon. While working as a ballet master in Turin, Italy, he began studying the violin under Giovanni Battista Somis, a pupil of Arcangelo Corelli. This Italian training was the pivotal moment that allowed him to eventually merge Italian virtuosity with his native French sensibilities.
In 1723, he arrived in Paris and quickly gained fame at the Concert Spirituel, his mastery of double-stops and high positions shocked and fascinated Parisian audiences. He served as a "Musicien du Roi" for Louis XV from 1733 to 1737. However, he famously resigned after a heated dispute with fellow violinist Jean-Pierre Guignon over who would lead the orchestra. He spent several years at the court of the Princess of Orange in the Netherlands and collaborated with the legendary violinist Pietro Locatelli, an experience that further pushed his technical boundaries.
Leclair took the "French" flute and violin style (noted for its elegance and notes inégales) and infused it with the "Italian" structural rigor and ornamentation. Although primarily a violinist, Leclair was a master of the transverse flute. His eight sonatas for flute and basso continuo (found within his Op. 1, 2, and 9 collections) and his Concerto in C Major, Op. 7, No. 3 remain essential masterpieces of the flute repertoire.
Leclair’s life ended in one of the most famous unsolved mysteries in music history. In 1764, he was found stabbed to death in his home in a dangerous neighborhood of Paris, and the crime was never solved.