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Joseph Bodin de Boismortier
Sonate I, G Major, opera sixième
Moderato
Allegro
Larghetto
Allegro
Il est ne le divin enfant
Joseph est bien marié
Un flambeau, Jeanette, Isabelle
Georg Philipp Telemann
Sonata II, e moll, TWV 40:102
Largo
Allegro
Andante
Allegro
Veni emmanuel
Lully, lullay
Let All Mortal Flesh Keep Silence
Michel Blavet
Premier recueil de pièces
Menuet: L’Inconnu
L’Insinuante
Lo, how a rose e'er blooming
There is no rose of such virtue
Les anges dans nos campagne
(1689-1755)
French, anonymous
French, c. 1725
French, traditional
(1681 – 1767)
Latin, 9th Century
English, 16th Century
French, traditional
(1700-1768)
Praetorius (1571-1621)
English, 15th Century
French, traditional
Johann Joaquim Quantz
(1697-1773)
Sonata in G Major, opus 2
I. Allegro
Blavet
Troisième recueil de pièces: L’Entretien des muses
Quantz
III. Presto
The Division Flute
Greensleeves to a Ground
16th Century
Flûtes Caquets have been playing together since they discovered a shared passion for French Baroque music.
They met while studying at The Peabody Conservatory where they were both in the studio of Colin St Martin. They
presented a charming semi-staged concept concert entitled La Folie des Moutons in September and look forward to
repeating this program.
Elizabeth Ford completed an MM in musicology from the Peabody Conservatory in 2005, where she studied eighteenth
century French instrumental methods and was a traverso student of Colin St. Martin. She holds a BA in music and philosophy
from West Virginia Wesleyan College, where she published in many philosophy journals and was the winner of the 2001
WVMTNA woodwind competition. Her previous flute teachers have included Karen Winter, Linda Wolfersheim, Mary Ann
Munoz and David Wright.
Kateri Chambers can be heard performing with many of Peabody’s Early Music ensembles in addition to Ensemble Chaeron.
She is working with The Creative Access and is a founding member of Ash & Rowan (Irish traditional ensemble). She hails from the
San Francisco Bay Area where she studied traverso, modern and renaissance flutes, recorder, and voice. Kateri is also pursuing a
degree in English Literature and Writing Seminars at the Johns Hopkins University. She can currently be seen performing with her
dance troupe Egyptian Sun in addition to her solo performaning. Her theatrical pursuits since arriving in Baltimore have included
productions on a student, local, and professional level.
Joseph Bodin de Boismortier never held an official post, nor was he a flutist. He was an extremely prolific composer who
had been granted the royal favor of engraving and publishing his own works, which brought him fame and fortune. Taking
advantage of the flute’s popularity, he composed many works for flute or combinations of treble instruments, such as oboes, flutes,
or violins. Boismortier’s music is wide-ranging in style and virtuosity. His duets, especially the Sonatas for Flutes without bass, Opus 6,
of 1725, are largely imitative. Boismortier also wrote instructional tutors for several instruments which have been lost, and stage
works combining French and Italian styles.
The tune to the French carol Il est ne le divin enfant originated as a hunting song from Normandy. The song is sung by
shepherds, joyously dancing in a field, playing their musettes and oboes, after the visit of the angels. Flutes, as a shepherd’s
instrument, have a long association with Christmas. The noel Joseph est bein marié was arranged by Jean-Jaques Rippert (c1668-1724).
The tune appears in Marc-Antoine Charpentier’s Messe de Minuit pour noel. Un Flambeau, Jeanette, Isabelle, is a carol from the Provence
region. The gentle, pastoral feeling tune depicts the excitement surrounding the infant Jesus’ cradle.
Georg Philipp Telemann intended to be a lawyer. After entering law school at the University of Leipzig, he thought better
of it, turning to music. Although he was nearly an exact contemporary of J.S. Bach, his music was more fashionable and famous in
their century. His compositional output was enormous, and encompasses a wide range of styles and instruments. The Sonatas for
Two Flutes of 1727 are forward looking in their rather self-indulgent galant slow movements, and yet have very typically baroque
fugal fast movements.
Veni, Emmanuel originated before the ninth century as an antiphon, combing the Old and New Testaments’ views of the
Messiah. The tune, a Greek processional, dates from at least the sixteenth century. The words and melody were combined in the
nineteenth century, creating the present version.
The Coventry Carol dates from a 16th century pageant by sheep shearers and tailors performed on the steps of Coventry
Cathedral between 1534 and 1584; this was based a much older morality play mounted by the tradesmen for the benefit of the
monarchs and local government. This lullaby was sung by the women of Bethlehem shortly before Herod’s men came to slaughter
their infant sons, in an attempt to rid himself of the threat from the King of the Jews. Greek words and a French melody combined
to create the ominous yet peaceful carol Let all mortal flesh keep silence. We are admonished to “ponder nothing earthly minded” while
waiting the birth of Jesus.
Michel Blavet was the greatest flutist of the eighteenth century. After his debut at the Concerts Spirituel in 1726, he was
honored with many court appointments. He was known across Europe as a superb musician, composer, and nice guy. Most of his
compositions were for flute, which he played left handed. Blavet published three collections of popular airs, brunettes, opera tunes,
and versions of his own music arranged for two treble instruments. These appeared between 1744 and 1755, and remarkable for
their marked phrases and student-teacher parts.
The melody to Es ist ein Ros was harmonized by Michael Praeorius in 1609. The words are from the 15 th or 16th century.
Medieval literature portrayed Mary as a rose; the lyrics harken to this imagery.
The carol No Rose of Such Virtue is found in the 15th century Trinity manuscript. Written in the burden style, the words
(There is no rose of such virtue as is the rose that bare Jesu) may be by St. Bernard of Clairvaux. A stain on the manuscript
obscures parts of this song. The nineteenth century carol, Les anges dans nos campagnes, combines two ancient Christmas traditions-pastoral imagery and the Gloria in excelsis Deo refrain—creating a very joyful song.
Johann Joachim Quantz was Frederick the Great’s flute teacher, composer, flute maker, and pedagogical writer. He is best
remembered today for his 1752 Versuch einer Anweisung die Flote traversiere zu spielen, a tome that is part flute history, part flute method,
and part opinionated guide to overall musicianship. Quantz suggested duets, the ones of his Opus 2 of 1759 in particular, as good
ways for amateurs or teachers and students to make music. We have substituted a Blavet arrangement for the bland, unpalatable,
unQuantzian middle movement.
The tune Greensleeves is often associated with Christmas as it is the basis for several seasonal songs. Our version of
variations over a ground bass is from the seventeenth century English book, The Division Flute.
-Elizabeth Ford
Further information, sound clips, program and booking contacts can be found at www.kateri.name/flutescaquets.html