The surviving work of a mystery composer from the late French Baroque, in a new recording by a highly accomplished young early-music keyboardist.

Nothing is known of Le Bret beyond the volume of keyboard pieces reproduced here, which analysis of both musical style and ancillary details has dated to the 1730s or 1740s. Whoever he was, Le Bret was clearly inspired by François Couperin and Jean-Philippe Rameau, and his style is comparable to that of the harpsichordists who followed in their footsteps between 1720 and 1740, such as Jean-François Dandrieu, François d'Agincourt, Joseph Bodin de Boismortier, Bernard de Bury and Jacques Duphly in his first two books.

Like them, Le Bret alternates dances and character pieces. On the other hand, he makes no concessions to the taste for pastoral and country music, does not seem influenced by opera music, and does not overdo descriptive effects and virtuosity. All in all, Le Bret remains faithful to the subtle and poetic language of the harpsichord; as he says in his preface, he has ‘always endeavored in composing them to adorn them with the most graceful songs, knowing from our most illustrious masters that this is the beauty of this instrument.’ As Simone El Oufir Pierini observes in his booklet essay for this album, one evident example of Le Bret’s knowledge of ‘our most illustrious masters’ arises in the piece titled L’Embarassante, a stylish homage to Les Cyclopes by Rameau.

Born in Rome in 1996, Simone El Oufir Pierini studied piano at the conservatoire of the Accademia Nazionale di Santa Cecilia. Developing a particular interest in historically informed piano practice, he attended masterclasses led by Alexei Lubimov and Andreas Staier, before undertaking specialised study of harpsichord and basso continuo with such teachers as Andrea Coen and Giovanni Togni. He has made several well-received albums for Brilliant Classics, both solo and with colleagues.

Praise for Simone El Oufir Pierini on Brilliant Classics:

‘One cannot find any fault with Pierini’s work. It is lively where needed, with good phrasing and a sense of expression that fits the music perfectly. This is one set that really ought to be a part of any collection of Baroque keyboard music. Highest recommendation.’ - Fanfare (Tinazzoli, 96865)

‘He plays with tremendous energy and conviction, and he has a generally supple view of tempo... a major addition to the catalog.’ - Fanfare (de Montgéroult, 96247)