Baroque
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Loeillet (de Gant) Jean-Baptiste
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
Recorder Sonata in C minor, Op. 2, No. 5
Recorder Sonata in A minor, Op. 1, No. 1
Recorder Sonata in G Major, Op. 1, No. 3
Recorder Sonata in C Major, Op. 1, No. 6
Recorder Sonata in D minor, Op. 2, No. 3
Recorder Sonata in C minor, Op. 2, No. 5
Recorder Sonata in C Major, Op. 3, No. 1
Recorder Sonata in C minor, Op. 3, No. 5
Recorder Sonata in E-flat Major, Op. 3, No. 7
Recorder Sonata in E minor, Op. 3, No. 12
Jean-Baptiste (da Gant) Loeillet: Recorder Sonatas Op. 2 was written around 1711-1714 and was published by Estienne Roger in Amsterdam (Plate No. 346) in approximately 1714.
These 12 sonatas represent a direct continuation of the style and success of his Op. 1. While still heavily influenced by Arcangelo Corelli’s sonata da chiesa and sonata da camera models, Op. 2 displays more "French decorations" and rigorous counterpoint.
Around 1714, Loeillet was firmly established in Lyon, France, in the service of Archbishop Paul-François de Neufville de Villeroy. His career in Lyon was characterized by composing music for the French nobility and talented amateurs, which is reflected in the approachable yet refined nature of these sonatas.
He adopted the suffix "de Gant" (of Ghent) specifically to distinguish himself from his famous cousin, Jean-Baptiste Loeillet "of London," who was active in England during the same period.
Patrick Denecker (flute), Guy Penson (harpsichord), Jan Bontincik (cello), 2006, Pavane Records / IDOL
1. Adagio
Patrick Denecker (flute), Guy Penson (harpsichord), Jan Bontincik (cello), 2006, Pavane Records / IDOL
2. Vivace
Patrick Denecker (flute), Guy Penson (harpsichord), Jan Bontincik (cello), 2006, Pavane Records / IDOL
3. Largo
Jean-Baptiste Loeillet (1688-1720), known as Loeillet de Gant (of Ghent), was a Flemish Baroque composer and wind player primarily recognized for his extensive contributions to the recorder repertoire.
Born in Ghent, he belonged to a prominent musical dynasty. His father, Pieter Loeillet, was a professional musician who raised not only Jean-Baptiste, but also his brother's son Jean-Baptiste, who later became known as the John Loeillet of London, and his brother Jacques, who made a career as a notable oboist and composer who served in the courts of Munich and Versailles.
Jean-Baptiste moved to Paris to study for a while before settling in Lyon, France. There, he served as a musician for Archbishop Paul-François de Neufville de Villeroy, performing for the Lyonnaise nobility and local religious elite, contributing to the city's vibrant cultural life during the early 18th century.
His legacy consists primarily of 48 solo sonatas for recorder and basso continuo. His style is characterized by a synthesis of Italianate Corellian structures and refined French ornamentation, displaying a sophisticated mastery of counterpoint.