Loeillet composed two sets of "Lessons" for the harpsichord or spinet, Six Sonatas for a Variety of Instruments, Op. 1, Twelve Solos (sonatas) for flute with basso continuo, Op. 3, and Twelve Sonatas in Three Parts, Op. 2 which were published in 1725. Early in the twentieth century, the sixth of these sonatas, originally written in c minor for flute, oboe or violin, and basso continuo (harpsichord and cello), was adapted for modern piano trio by Alexandre Béon. "The only constant is change." A cliché, of course, but none the less true and particularly true concerning the performance of music from the seventeenth and eighteenth centuries. What we now consider to be respectfully authentic the nineteenth and early twentieth century would have found unpalatably dry and what they regarded as expressive our time sees as unstylistic and self-indulgent. A redefinition can alter our evaluations, however. Instead of thinking of Bach-Stokowski as out-of-style and excessive, why not regard it as something completely new?—a collaboration across time bringing Stokowski's inspired orchestration to Bach's eighteenth century compositional genius. Just so is Alexandre Béon's 1911 harmonization and adaptation of Loeillet's 1725 sonata. With the violin taking the flute part and the cello replacing the oboe, here is an old jewel, recut, polished and placed in a new setting where it shines with even greater brilliance.
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AMAZON: LOEILLET, J.B. - Sonatas & Triosonatas