Hortus Musicus Loeillet De Gant J.B. - Sonaten I Op. I/1-3 - FLB et BC
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Summary of This Score
This edition, prepared by Johann Philipp Hinnenthal, offers a score by Jean-Baptiste Loeillet of Ghent designed for a solo voice (alto recorder) and basso continuo. The figured bass, complemented by a realization, facilitates harmonic setup and allows for a more immediate approach to continuo practice, whether you play harpsichord, organ, or a bass support instrument. The indicated instrumentation also opens the door to various configurations: the solo line can be performed on flute, oboe, or violin, making it an interesting resource for chamber music classes, auditions, or concert programs centered on the Baroque repertoire. The presence of a structured basso continuo encourages in-depth work on listening, balance, and musical breathing, while developing accompaniment reflexes and ornament improvisation in the style.
Technical specifications
| Musical Genre | Classical | Publication | Sheet music |
| Composer | Jean-Baptiste Loeillet of Ghent | Instrumentation | Alto recorder (Fl, Ob, Vn), Bc |
| Edition | Johann Philipp Hinnenthal | ||
Questions frequently asked
What instrumentation is intended for these sonatas by Loeillet of Ghent?
The edition is designed for alto recorder and basso continuo, under the indication "Flb alto (Fl, Ob, Vn), Bc". The top part can thus be played on recorder, oboe, or violin.
Is the basso continuo figured and realized?
The figuration is supplemented by a realization to facilitate the harmonic framework of the basso continuo.
Which instruments can perform the continuo in Opus I/1-3?
The basso continuo realization allows performance on harpsichord or organ. A low supporting instrument can also complement the accompaniment. This setup promotes balancing between the upper voice and the bass.
Is this score suitable for alto recorder?
The alto recorder is the indicated melody instrument in this edition by Johann Philipp Hinnenthal. The sonatas I of Opus I, numbers 1 to 3, are accompanied by a structured basso continuo.
Can this edition be used for Baroque chamber music?
These three sonatas by Jean-Baptiste Loeillet of Ghent can be included in chamber music work with melody and continuo. The presence of the figuration also supports the approach to ornaments in the Baroque style.



