The Schulich School of Music of McGill University will honour harpsichordist Kenneth Gilbert with Autour du clavecin d’autrefois, a three-day symposium of concerts and lectures from June 15 to 17. Gilbert, who turned 80 in December, is one of the leading figures in the field of early keyboard music, a brilliant performer, pedagogue, scholar and collector of historic instruments.
[Listen] Listen to Gilbert perform the Gigue from J.S. Bach's Partita No. 1 in B-flat major, BWV 825.
Gilbert has made over 50 recordings for the most prestigious labels (Harmonia Mundi, Deutsche Grammophon Archiv); he has held teaching positions at McGill University, the Mozarteum in Salzburg and the Paris Conservatory; he is responsible for creating new editions of keyboard music by François Couperin, Henry d’Anglebert, Jean-Philippe Rameau, J.S. Bach, Girolamo Frescobaldi and Domenico Scarlatti (including his 555 sonatas); and he has amassed a personal collection of some of the world’s most significant Renaissance and baroque keyboard instruments.
Autour du clavecin d’autrefois will pay tribute to Gilbert and his many achievements. Visiting scholars will give lectures on subjects ranging from the care and maintenance of harpsichords to basso continuo in Brazil. There will also be concerts given by today’s leading exponents of early keyboard music.
CBC Music contacted some of the symposium participants and asked for their appreciation of Gilbert’s legacy.
Olivier Baumont, professor of harpsichord at the Paris Conservatory
Baumont spoke with us in French, so this is our translation:
“Kenneth Gilbert was one of my teachers; he became a friend. It’s impossible to overstate his contribution to our appreciation of harpsichord music today, and to the current state of instrument building. A marvelous concert artist whose recordings have become references without being frozen in time; a tireless scholar who has published such volumes of critical editions of music; an attentive teacher who guides students while allowing their individual personalities to shine; a discerning collector who has acquired some of the world’s most important harpsichords; Kenneth Gilbert is all of these. Through his 'art infini,' his powerful intellect and his independence of spirit, he will continue to elicit respect and admiration for years to come.”
John Grew, professor emeritus, McGill University
“Today it is difficult to imagine what a scandal it was when the first Beckerath organ arrived at Queen Mary Road Church in Montreal at the instigation of Kenneth Gilbert. This revolutionized organ building as well as organ playing in Canada. He converted organist Raymond Daveluy to the concept of mechanical action, and Daveluy often said, 'Kenneth Gilbert's influence on the organ world was similar to that of St. Paul in the early Christian Church.'”
Davitt Moroney, harpsichordist and professor of musicology at the University of California, Berkeley
“Kenneth Gilbert's editions for Heugel's series Le Pupitre have long formed the backbone of any serious harpsichordist's working library. Because of them, the striking coloured circles on the front covers soon became a guarantee of excellence to players around the world. The Couperin and Rameau editions had some serious rivals when they came out, but had no difficulty in becoming the standard ones. The 11 Scarlatti volumes went straight to the top of the class even more easily. However, in some ways the d'Anglebert edition was the most influential. In 1975, the composer's name was hardly a household word; yet within 10 years no harpsichord student could avoid playing d'Anglebert as a central part of their training. This music's constant presence in the professional life of harpsichordists today is very largely due to Kenneth Gilbert's beautifully elegant edition.”
Mimi Waitzman, curator of the Benton Fletcher collection of early keyboard instruments at Fenton House, and deputy keeper of musical instruments at the Horniman Museum, London, England.
“Without Kenneth Gilbert, the landscape of the early music world today would look very different. Imagine no scholarly performing editions of the Pièces de clavecin of François Couperin, the complete sonatas of Domenico Scarlatti, the suites of Jean-Henry d’Anglebert, Jean-Philippe Rameau, and many others. In his hands, historic keyboard instruments and fine copies from his own and others’ collections brought this repertoire to life. From early on, Kenneth recognized the importance of historical examples, not only in broadening the audience for early music, but also for attracting gifted proponents to the repertoire and instruments. In the meantime, his talents and generosity as a teacher and mentor became nothing short of legendary. His own rare gift for combining superb scholarship with compelling performance has now given enjoyment to music lovers everywhere, and inspiration to generations of musicians.”
[Listen] Gilbert plays the Sarabande from J.S. Bach's French Suite No. 2 in C minor, BWV 813.
View the complete schedule of activities at the Schulich School of Music of McGill University's Autour du clavecin d'autrefois: a Tribute to Kenneth Gilbert.
Related:
Website of Yves Beaupré, harpsichord builder
[Watch] Private music lessons: Kenneth Gilbert, harpsichord & organ
Kenneth Gilbert's recording of Bach's Goldberg Variations on Harmonia Mundi