Newsgroup: it.arti.musica.classica
Titolo: Loillet, chi era costui?

Sto cercando notizie biografiche su un compositore Franco-Belga, da
mettere in GfH Musica Barocca, un certo
Jean-Baptiste Loillet de Gant
nato a Gent attorno al 1680 e morto a Londra attorno al 1730.
So soltanto che si spostò a Londra nel 1705 ed infatti è comunemente
indicato col nome di:
John Loillet
e di lui circolano sonate da camera per flauto e bc, suites per cembalo
e poco altro.
Non trovo nulla neppure sulla New Grove, possibile?
Se qualcuno conoscesse qualche altra fonte... grazie in anticipo
Zadok
http://xoomer.alice.it/gfh

Non trovi perchè usi una grafia sbagliata del nome!
Dal New Grove:
Jean Baptiste Loeillet (i) ['John Loeillet of London'
(b Ghent, bap. 18 Nov 1680; d London, 19 July 1730). Composer, nephew of (1) 
Pieter Loeillet. He was the son of Jean Baptiste François Loeillet by his 
second wife, Barbe (née Buys); he is often confused with (5) Jean Baptiste 
Loeillet (ii) ('Loeillet de Gant'). In view of his father's death in 1685, 
it is possible that John Loeillet was brought up by his uncle Pieter 
Loeillet. He settled in London in about 1705, where his surname was often 
rendered more or less phonetically as 'Lullie' or 'Lully', and he anglicized 
his first name to John. He is mentioned in 1707 as a member of the Drury 
Lane orchestra, and a year or two later he appears as principal oboist (and 
flautist) in Heidegger's list of the opera band at the Queen's Theatre, 
Haymarket. In 1710 or soon after he started weekly concerts at his house in 
Hart Street, Covent Garden, where, on a famous occasion (probably in 
December 1714), Corelli's concerti grossi op.6 were first played in England. 
Loeillet became a celebrated master and teacher of the harpsichord. There is 
a tradition, which may well be true, that he was chiefly responsible for 
introducing the transverse flute as a fashionable instrument in England. In 
1722, with Handel, Croft and others, he tested a new organ at St Dionis 
Backchurch. Later in his life Loeillet moved to East Street near Red Lion 
Square, where he died. In his will, dated 1 May 1729 and proved 9 September 
1730, he left bequests to his half-brother (2) Pierre Loeillet in Ghent, to 
his sister Catherine and to his brother (4) Jacques Loeillet in Munich; his 
young cousin at Bordeaux, (6) Etienne Joseph Loeillet, received a legacy and 
the 'very Best of my Absecords', and the residuary legatee was (1) Pieter 
Loeillet 'my oncle att Bordeaux in France', also to receive 'my . Collection 
of musick boocks . and musickell instruments consisting in violins, Flutes 
of all kind, Bass violins'.
John Loeillet of London's nine suites of lessons for harpsichord or spinet 
are in the English keyboard tradition and include such characteristically 
English movements as the hornpipe and cibell. They are competently written 
and make modest technical demands, but do not approach the quality of those 
of his English contemporaries Blow and Croft. His instrumental sonatas fall 
into the sonata da chiesa pattern, usually comprising a slow first movement 
in common time, a fast alla breve fugal movement (often with a bass of 
running quavers), a sarabande-like slow movement requiring much 
ornamentation, and a lightweight gigue. Within these limits Loeillet used a 
markedly different style for each of the three groups of instruments for 
which he was writing. His six trio sonatas for recorder and oboe and the six 
sonatas for recorder are his most conservative works, and they follow the 
stereotyped formula of movements; the bass simply supports the melodic 
parts, but the two treble voices have almost equal status, whereas in the 
trio sonatas for two like melodic instruments the second part is subordinate 
to the first. The six trio sonatas for two flutes are less predictable in 
style than those for recorder and oboe, and more forward-looking: Loeillet 
used long melodic lines with suspensions, and upper parts in parallel 3rds 
and 6ths. The trio sonatas for two violins represent Loeillet at his most 
adventurous, containing idiomatic string figures and expansive themes based 
on arpeggios reminiscent of Corelli and Vivaldi, and the cello part is more 
consistently integrated into the musical texture.
WORKS
all published in London
      Lessons (e, D, g), hpd/spinet (c1712); ed. in MMBel, i (1932)
      [6] Sonatas for Variety of Instruments (F, G, g, D, C, e), op.1 
(1722); nos.1, 3, 5 for rec, ob, bc; 2, 4, 6 for 2 fl, bc
      6 Suits of Lessons (g, A, c, D, F, E), hpd/spinet (1723/R); ed. in 
MMBel, i (1932)
      12 Sonatas in Three Parts (B, F, A, d, G, c, E, b, g, e, D, G), op.2 
(c1725); nos.2, 4, 6 for rec, ob, bc; 8, 10, 12 for 2 fl, bc; others for 2 
vn, bc
      12 Solos (C, d, F, a, g, d, e, G, D, b, D, G), op.3 (1729); nos.1-6 
for rec, bc; 7-12 for fl, bc

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