Michel Pignolet de MONTÉCLAIR,
Six Concerts à deux Flûtes Traversières sans Basses
Michel Pignolet de Montéclair, Six Concerts à deux Flûtes Traversières sans Basses

The Concertos for two transverse flutes without bass make up part of a thread begun in 1709 with the Suites de Pičces ŕ deux flűtes traversičres (Suites of Pieces for two transverse flutes) by Michel da La Barre, who was both a composer and the first great French flute player. Particularly popular in France during the first half of the 18th century, this genre inspired many composers. It is only a short step to imagining that the regular practice of duos could even at this early stage have constituted an important pillar of all flute players’ training. I even believe that cloaking the music in such attractive finery has promoted, and still promotes today, a playful, almost sensual transmission of an instrumental know-how from generation to generation, and from teacher to student, explaining the success of three centuries of French flute playing.
Montéclair’s masterly interchange of the voices invites the players to demonstrate great complexity in their performance, arousing a desire for osmosis, creating a surge of confidence, and of that very baroque emotion, tenderness. He invites the performers to go beyond themselves, to lose themselves in joining with the other player, to dissolve into an intangible world, beyond time and space, only to come back to Earth in the next instant through a well-known melody, or a firmly marked bass, immediately evoking a desire to dance.
This CD aims to fill an unfortunate void in current recordings of Montéclair’s music, and to encourage further interest in his compositions.

Rebecca Ockenden   Quebec-born MARIE-CÉLINE LABBÉ began her musical training on recorder, starting her professional career as a soloist with the Quebec Symphony Orchestra. A prize-winner at various musical competitions in Quebec and across Canada, she went on to study flute in Quebec, Banff, Paris and Vienna, and traverso in Münster, graduating with distinction in 1995. During this time, she worked with Alain Marion, András Adorján, Wolfgang Schulz, Barthold Kuijken and Konrad Hünteler. A member of the Vienna Academy since 1991, she has performed with many baroque orchestras, including Concilium musicum Wien, L'Orfeo Barockorchester, Aura Musicale, the Haydn Sinfonietta Wien, and Concentus Musicus Wien, touring in Europe, North and Central America, Turkey, Singapore and Japan. Marie-Céline Labbé has made several CD and broadcast recordings.
After her modern-flute studies in Salzburg, Innsbruck and Vienna, Munich-born MARION TREUPEL-FRANCK specialised in traverso, studying with Barthold Kuijken at the Royal Conservatorium in Brussels, and was awarded that institution's diploma in 1998. She also received a grant from the Mainz Villa Musica foundation in 1995 and 1997 to work with Reinhard Goebel. Marion has played with several renowned baroque ensembles, such as the Bach Collegium Japan, La Stagione Frankfurt, Currende, the Hassler Consort, Hofkapelle München and L'Estro Armonico. She has also made many radio and CD recordings, and teaches at various international early music courses. In 2000, she founded the Schlehdorf early music festival, and was director of the international Renaissance music festival at the Gasteig in Munich in 2006. Marion has also been engaged to perform in various prestigious international early-music concert series. Since 2001 she has taught traverso at the Richard Strauss Conservatorium in Munich, and since 2008 at the Hochschule for Music and Theater in the same city.

CD 1 CD 2
Premier Concert   Quatrième Concert  
1. Prélude. Un peu lent   1. Dialogue. Lentement
  2. Premier Menuet. Gay – Deuxième Menuet 2. La Rieuse. Légèrement  
3. Air   3. La Terpsicore. Gay  
  4. Air. Grâcieusement   4. L'Allemande. Gay  
  5. Première Badine. Légèrement
  5. L'Angloise  
      Deuxième Badine. Rondeau   6. L'Italienne. Légèrement  
  6. Air. Gay   7. La Françoise. Air dans le goût Ancien.
  7. Plainte. Lentement       Très lent, et très tendre – Double  
  8. Fugue. Légèrement   8. La Picarde. Légèrement  
Second Concert   Cinquième Concert  
  9. Prélude. Lentement   9. Prélude. Lentement  
10. Air   10. Badinage  
  11. Gavotte en Rondeau     11. Musette. Lentement  
  12. Menuet – Deuxième Menuet     12. Gavotte à la manière Françoise.  
  13. Courante à la manière Françoise           Gayement  
  14. Courante à la manière Italienne     13. Gavotte à la manière Italienne.  
  15. Plainte en Dialogue. Lentement           Légèrement  
  16. Premier Menuet. Tendrement et lent     14. [–]. Gay  
  17. Deuxième Menuet. Gay   15. Sarabande. Lentement  
18. Air dans le goût ancien. Lent et tendre   16. Gigue à la manière Françoise  
  19. Premier Air dans le goût des Brunettes.
    17. Gigue à la manière Italienne  
        Lentement et tendre     18. Les Ramages. Lentement
  20. Deuxième Air dans le goût des Brunettes.     19. Fugue. Gayement  
    Sixième Concert  
Troisième Concert     20. Allemande. Légèrement  
  21. Rondeau. Tendrement     21. Forlana  
  22. Air. Gay     22. Passacaille. Gravement  
  23. Première Muzette. Gay
    23. Le Papillon. Menuet. Légèrement  
        Deuxième Muzette. Lentement et tendre
    24. Le Moucheron. Passepied. Viste  
  24. Première Sarabande. Gay     25. Prélude. Lent et tendre  
        Deuxième Sarabande. Lentement     26. Bourée. Gay – Double  
  25. Prélude. Lentement     27. Gavotte. Gayement  
  26. Allemande     28. Sicilienne.  
  27. Gigue en Rondeau           Lentement, et gracieusement  
  28. Sarabande. Lentement et tendre     29. Sarabande.  
  29. Fugue. Légèrement           Lentement, et tendrement  
        30. Chaconne. Gay