Luciano Sgrizzi est un claveciniste merveilleux qui aimait jouer sur Sperrhake modèle Bach. Il a entre autres fait des enregistrements fabuleux de Scarlatti et Haendel sur ce type d'instrument. Merci pour cet enregistrement très rare.
I bought some recordings in the past from Suisse which were once owned by the Swiss Radio because it has stickers of that organisation and there are many Sgrizzi-recordings. So I will publish some more Sgrizzi in the future.
Rest of the documentation Aesthetics We do not know which master helped him to acquire a musical talent, Did he work in England before entering the Haymarket? Was he taught by his father Pierre Noel Loeillet (1651-1735), a master of music and dance in Gand and Bordeaux, whose eventual musical compositions have left no trace? We ignore all about it. Only the analysis of his works can reveal the man and explain his reputation in the 18th century. Though foreigner by birth, he shows a deep acquaintance with his audience for he has assimilated all the traditions of English music as glorified by Purcell whose heart is inspired both by Italian music and French music. Be cause of his harpsichord music we can rightly compare him with Purcell. Answering with rare perfection his audience's aesthetics he succeeded, as Haendel did, in being fully adopted by his favourite country. ' In that way Loeillet adapts himself to the English terminology of Lessons (synonymous of pieces) arranged by tonalities and making suites. " Since his first coilection we find pieces in the English style as Hornpipe, or Cibel (parodied by a few English composers after Purcell). Suites are created according to an invariable model Allemande - Corente - Sarabanda - Aria - Minuet - Giga ; this model comes from the famous formula wrongly named frobergian as it only appears in 1693. The Aria of the third Suite alone is followed by a Double. In all those dances the binary foim is essential and Loeillet does not practise Rondos so dear to the French composers of his time. We must point out that he includes in the title Coranto a Corrente in the Italian style (first suite) as one in the French style (second suite). The tunes reveal no vocal language but an instrumental one. The third suite, with a broke'n style, does take after Purcell's models. Its tonality in C minor is indicated by two flat keys, A flat being added in case of necessity: - this practice is already out of fashion in 1725. The works presented here reveal a musician who does not seek originality but who wants to be a classic. Belonging to a tradition which goes back to the 17th century he is surely no innovator. When he deals with success with his model h~ owes it to his own melodic invention animated with a great number of rich modulations . He also owes it to his virtuosity able to fit the needs of a poetic expression. For all ' these qualities we may rank his works with the first collection of Haendel's harpSichord pieces (1720). GUNTHER MORCHE 1971
une merveille!
Luciano Sgrizzi est un claveciniste merveilleux qui aimait jouer sur Sperrhake modèle Bach. Il a entre autres fait des enregistrements fabuleux de Scarlatti et Haendel sur ce type d'instrument. Merci pour cet enregistrement très rare.
I bought some recordings in the past from Suisse which were once owned by the Swiss Radio because it has stickers of that organisation and there are many Sgrizzi-recordings. So I will publish some more Sgrizzi in the future.
Gigue @ 24:19 , Suite No. 4
So beautiful
Wonderful indeed.
He is great! Thank you for uploading his recordings!!!!
Glad you like it!
💓🎵
Rest of the documentation
Aesthetics
We do not know which master helped him to acquire a musical talent, Did he
work in England before entering the Haymarket? Was he taught by his father Pierre
Noel Loeillet (1651-1735), a master of music and dance in Gand and Bordeaux,
whose eventual musical compositions have left no trace? We ignore all about it.
Only the analysis of his works can reveal the man and explain his reputation in the
18th century. Though foreigner by birth, he shows a deep acquaintance with his
audience for he has assimilated all the traditions of English music as glorified by
Purcell whose heart is inspired both by Italian music and French music. Be cause of his
harpsichord music we can rightly compare him with Purcell. Answering with rare perfection
his audience's aesthetics he succeeded, as Haendel did, in being fully adopted
by his favourite country. '
In that way Loeillet adapts himself to the English terminology of Lessons (synonymous
of pieces) arranged by tonalities and making suites. "
Since his first coilection we find pieces in the English style as Hornpipe, or Cibel
(parodied by a few English composers after Purcell).
Suites are created according to an invariable model Allemande - Corente -
Sarabanda - Aria - Minuet - Giga ; this model comes from the famous formula wrongly
named frobergian as it only appears in 1693. The Aria of the third Suite alone is
followed by a Double. In all those dances the binary foim is essential and Loeillet
does not practise Rondos so dear to the French composers of his time. We must
point out that he includes in the title Coranto a Corrente in the Italian style (first
suite) as one in the French style (second suite).
The tunes reveal no vocal language but an instrumental one. The third suite, with
a broke'n style, does take after Purcell's models. Its tonality in C minor is indicated by
two flat keys, A flat being added in case of necessity: - this practice is already out of
fashion in 1725.
The works presented here reveal a musician who does not seek originality but who
wants to be a classic. Belonging to a tradition which goes back to the 17th century
he is surely no innovator. When he deals with success with his model h~ owes it
to his own melodic invention animated with a great number of rich modulations .
He also owes it to his virtuosity able to fit the needs of a poetic expression. For
all ' these qualities we may rank his works with the first collection of Haendel's
harpSichord pieces (1720).
GUNTHER MORCHE 1971