With this second release by the Polish quality label Prelude Classics, a series of study materials come our way, composed by the possibly for many not-so-well-known Belgian-born composer, Jean-Baptiste Loeillet. He wrote ‘Lessons’ for practising the harpsichord with his pupils, six of which are put on record by Michał Bryła. For a good understanding: In Loeillet’s days ‘Lessons for the Harpsichord’ were nothing special. Several composers, including Handel, produced them for similar reasons. But not all are at the same musical level.

Confusion exists about the Loeillet family and who wrote what. There is an earlier recording of ‘Six Suits of Lessons for Harpsichord or Spinet’, released in 2019 on the Urania Label (Leonardo Digital Collection) with the Italian Harpsichord player Luigi Chiarizia, advertised as Jean-Baptiste (John) Loeillet. A mistake. They were composed by Loeillet’s Flemish cousin, Jean Baptiste Loeillet de Ghent. And then there is a Jacques Loeillet … Furthermore, according to La Sala del Cembalo del Caro Sassone (The Handel Harpsichord Room), there is a 2018 recording of John Loeillet’s ‘Six Suits of Lessons’ with the Italian Harpsichordist Fernando de Luca, but is nowhere listed as CD. The Loeillet we are talking about, is the one that settled in England referring to himself as ‘John L. of London’ and the Suites recorded here are his.

Looking at it from different angles, it is not clear whether or not John’s set has been recorded previously. However, World Premiere or not, Michał Bryła has, in my view, hit for more than one reason the jackpot. Firstly, the soloist, Maria Banaszkiewicz-Bryła, professor at the Paderewski Academy of Music in Poznań, Poland, turns out to be a phenomenal harpsichordist; Secondly, these Suites are now for the first time available in Super Audio; Thirdly, the double SAD will be specially packed, and last but not least, reading the technical specifications in the booklet, Bryła has not spared any technical means to produce all Six at the highest possible engineered level.

My listening sessions confirmed Maria’s pleasing style; a style that matches, in all its shades and colours, the intimacy of this sophisticated and noble instrument. Yet, she shows her technical aptitude i.a. in a magnificently projected Corrente (Courante) in the Fifth Suite. Harpsichords can sometimes sound like someone scraping his throat. A warm sonority is on display thanks to Bryła’s careful engineering with realistic reverberation and a discrete surround sound pattern. A family in harmony is what I sensed; Mother and Son at work.

I won’t pretend that Loeillet’s Suites are of a similarly high level as those composed by Handel. It needs more time to wait and see if confirmed harpsichord players will put and keep them in their repertoire. For the time being, however, and surely in Madame Maria Banaszkiewicz‒Bryła’s interpretation, they have given me immense listening pleasure. We must be thankful for her having taken them out of oblivion.

The liner notes by Lilianna Stawarz are equally outstanding! It makes the ‘Six Suits of Lessons for the Harpsichord or Spinnet in most of the Key’s with Variety of Passages and Variations Throughout the Work’ all the more monumental. A true contribution to the classical catalogue and to all those who demand nothing less than the best. Simply said: A Must Have.

An afterthought: At a time, when labels are turning to industrialise the product for streaming and other mass production services; where money seems to be of greater importance than the preservation of acoustic art, it is all the more laudable that some independent and new labels continue to walk the path of quality and innovation.

Blangy-le-Château, Normandy, France

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