Six Sonatas, Book 2: Conductor Score & Parts

These sonatas bridge the gap between standard Baroque flute repertoire and works that genuinely challenge advancing students. Blavet writes idiomatically for the instrument without sacrificing musical coherence; the piano part is neither padding nor accompaniment in name only, and the dialogue between flute and keyboard feels natural and rewarding.

Blavet's writing balances lyrical grace with spirited passage work, alternating between singing melodic lines and nimble figuration that sits comfortably under the fingers. The sonatas inhabit the courtly, conversational world of the mid-Baroque salon, where virtuosity serves musical expression rather than overshadowing it.

These sonatas suit advanced flute students preparing for college auditions and performers building substantial recital programs. They work equally well for music history classes studying the evolution of flute writing and for chamber musicians seeking well-proportioned, musically engaging duet literature.

• Shape phrases with the arch of the melody rather than by measure line; the Baroque syntax often runs across barlines, and attention to harmonic rhythm helps guide where to breathe and phrase
• Approach ornamentation with period-informed taste; Blavet's notation is relatively spare, and judicious additions of appropriate embellishments belong in the style, especially on repeated figures
• Coordinate articulation patterns with the pianist so that tonguing on the flute aligns rhythmically with the keyboard's articulation, creating unified rhythmic clarity

Program one sonata as part of a thematic recital exploring French instrumental music from the Baroque through Classical periods, or pair a Blavet sonata with a Vivaldi concerto to highlight different national approaches to flute writing. These also work well as core repertoire for a full chamber recital or as teaching pieces in advanced studio settings where students benefit from learning Baroque style in a context more approachable than Bach.

• Baroque phrasing and structural listening in longer instrumental works
• Ornamental style and historically informed embellishment
• Coordinated ensemble playing between flute and piano partners
• Technical facility with sixteenth-note passage work in moderate tempos
• Interpretation of figured bass and Baroque harmonic language