Another discovery unearthed by Brilliant Classics, and another name to add to the library of French-Baroque masters, from the voraciously inquisitive mind and virtuoso hands of Fernando de Luca. Who was Hubert Renotte (1704-1745)? He was born and died in the Belgian city of Liege, and for the last decade of his life served as the titular organist of the cathedral there. Accordingly he wrote a good deal of church music, which remains as overlooked as his output for keyboard. This in itself encompasses not only organ music but the distinctively Franco-Italian style of the harpsichord pieces presented for the first time on record in the present album. The C major Suite is launched in dazzling style with 'Les Roulades et Harpeggio', living up to it's title with cascades of sequences up and down the keyboard. Renotte must have been quite the technician, as well as a composer of great taste and refinement. Perhaps he had a sense of humour, too, to judge from the third movement of the suite: 'Les Bagatelles Ou Les Folies de Liege & Menuet en Suite Des Bagatelles'. Again, true to the title, Renotte presents a series of sharply etched, fantastical sketches, which we might now hear as proto-Beethovenian in their oblique and disconcerting wit. The Suite concludes with, literally, 'Le Torrent', another sparkling cataract of notes. Whether or not Renotte ever intended them to be played in sequence this way - the music survives in manuscript, and there is no sign that they were published - the other pieces are also gathered up by key signature. There are 17 such pieces in D major, including a 'Pastorella' whose charming character belongs to the association of the key with country manners. On this new recording, Fernando de Luca plays a modern copy by Claudio Capone of a Blanchet harpsichord from 1754. While Jos van Immerseel recorded an LP-length selection of Renotte's works, this is the first time that the composer's surviving keyboard music has been recorded complete. The album represents another feather in the cap for a musician who has done a great deal to revive forgotten names from 18th-century music with complete surveys of their music on Brilliant Classics, among them Dufour, Foucquet, Jollage and Siret. '[De Luca] thinks outside of the box, and he clearly is a man with discerning tastes. These extend to his playing, which is clear-headed and disciplined, but never rigid. "Charm" is such an overused word, but I cannot think of a better one to describe this music and these performances.' (Fanfare on the Jollage album, January 2024)