Very special music played by someone who understands. (There are too many unmusical "musicians"). This is true early harpsichord music, moving - and precise. I`ve been playing Chambonnièrres all evening and am happy to have rediscovered this jewel. Thanks to whoever posted it.
Kenneth Gilbert 1931 - 2020 Canadian harpsichordist, organist, musicologist, and music educator. Gilbert studied at the Conservatoire de musique du Québec à Montréal under Yvonne Hubert (piano) and Gabriel Cusson (harmony and counterpoint). He also studied the organ privately with Conrad Letendre in Montréal. In 1953 he won the Prix d'Europe for organ performance, an award which enabled him to pursue studies in Paris, France with Nadia Boulanger (composition), Maurice Duruflé (organ), Ruggero Gerlin (harpsichord), Gaston Litaize (organ), and Sylvie Spicket (harpsichord) from 1953-1955. He later studied the harpsichord privately under Wanda Landowska.
And that old friend can be visited from everywhere as long as you have an internet connection. I was working alone this afternoon at the office so I could pick my own recording alas not the quality of the speakers and soundcard I am used to at home but still very enjoyable.
a pleasure to have, especially in these times: but, more generally and not to put too fine a point on it, the whole project is itself a public service.
The rest of the documentation by Davitt Moroney 1/2 Jacques Champion (who took the name Chambonnieres from his mother's father, who took it from the region in France ' in which he lived) was admirably suited to be the composer who first successfully adapted the wonderful subtleties of the lute to the harpsichord since there had been distinguished harpsiGhordists and lutenists in his family. His father, Jacques Champion the elder, was also famed for the beauty of his touch on the harpsichord, and his father's mother had been the daughter of the Scottish lutenist Edinthon, a celebrated player at the Valois court. IChambonnieres' father became a royal harpsichordist in Paris; he died in his mid-eighties in about 1640, but the young Chambonnieres had already taken over some of his duties in 1638.) Despite these duties at Court, he liked frequently to return to his native countryside of Chambonnieres, at Plessis-feu·Ausoult, and it was there in the early 1650s that he first met the young Couperin brothers, Louis, Fran90is the elder, and Charles. His recognition of the talent of Louis Couperin, in' particular, resulted in their becoming his pupils and being introduced to the Court. By this time, Chambonnieres' reputation had spread all over Europe, and las he himself says, without exaggeration, in the preface to his harpsichord pieces) his music was known "by the most eminent people in Europe ... in .almost every. city in the world where the harpsichord is ' understood." In the early 1660s he seems to have fallen under an official shadow at Court, the exact cause of which is unclear. The shadow' never lifted. The publication of his harpsichord music in 1670 was evidently an att~mpt on his part to preserve his 'best work before he died. Two volumes appeared together, containing eleven suites of which the five heard on this record comprise the first b·ook. Each book . contains 30 movements, .but there survive in manuscripts nearly 100 additional pieces, which he would perhaps also have published had he lived longer. His remarkable two-volumed publication was the first
Louis , François the elder and Charles II were first the pupils of their father Charles I who was organist at Saint Pierre - Saint Paul Abbey in Chaumes en Brie. There was no miracle in this Couperin family 's story
Yes Kenneth Gilbert is one of my favourites too, perhaps because I learned to appreciate the harpsichord as an instrument in my youth with the four books of François Couperin. An endless stream of music and with the cassette deck I selected the 'most appealing' (read fastest) pièces. I did not appreciate the full extend of his playing yet but I learned his vocabulary very well that way. Such a nice articulation and phrasing.
Folies Espagne, You re really the TOP of BEST maniacs on harpsichords, period composers, period instruments, phenomenal expression, detailing zooming, impressive infinitely aesthetic, aristocratic manners, information, dimensionality of Divinity 'till Absolute! Take all My Bottomed Amazement, Admiration Highest, Respect, Astonishment, & Consideration.
Don't overestimate it. It is just my personal joy to study at least every week one of my vinyls I have not heard for a long time. It is a bonus to make this wonderful music available for the happy few and expressing my deep admiration for these wonderful performers in the past we seem to forget far too soon.
@@HarpsichordVinylGallery On your site you mention a radio station that broadcasts live harpsichord recitals. Where I'm at the classical station never plays solo organ or harpsichord music. Apparently there is a fear that early keyboard instruments will drive away the audience. A while ago the station played the L. Couperin Pavane, but on the piano! But this distorts the music, which depends critically on meantone temperament.
@@TheGloryofMusic I guess you mean the Concertzender. It has a website. It is a unique broadcaster. So I was August the 12th in the Goethe Instituut in Amsterdam where Mario Sarrechia played a program on a Mother and Child virginal. And when I looked in November at the Concertzender (look for live and early music) I found out that that concert, which had only 200 people as an audience, was broadcasted by the concertzender www.concertzender.nl/mario-sarrechia-en-apollo-ensemble-live/ So it is not non-stop hpschd-music but for the small audience they do broadcast live performances like the A&A-Cembalo-duo www.concertzender.nl/programma/concertzender_live_526454/ So you have to do some searches to find these jewels once in a while.
The rest of the documentation by Davitt Moroney 2/2 such col lection of engraved keyboard music issued in France, and it inaugurated a long line of magnificent volumes of Pieces de Clavecin over the next 100 years. His German contemporary, Froberger, is generally credited with having given to the French-style keyboard suite the distinctive sequence of allemande, courante, sarabande, gigue. Mersenne's comment shows that ChambonniEnes was famous when Froberger was still a teenager. We know moreover that when Froberger visited Paris he wanted copies of Chambonnieres: music; furthermor.e, the sequence of movements in Froberger's suites was sometimes different in his own lifetime Ithe gigue could come second, and the suite could end with a not-too-slow sarabande). All these factors indicate that the Frenchman Chambonnieres deserves more credit than he usually gets for the format of the nascent French suite. The French composers who published music in the thirty or. forty years after his death almost certainly knew more of his music than they knew of Froberger's, and many of them h,ad been his pupils. Despite the variety found in Chambonnieres' suites, there is usually a slow, quadruple-beat first movement loften an allemande but sometimes a pavanne) and there are usually two or three .courantes and a sarabande. IFive of the eleven published suites' also have a gigue.) Very occasionally there is a piece with a more descriptive title, such as the fine pavanne L 'Entretien des Dieux which is probably a tribute to the virtuoso lutenist Denis Gaultier who publis'hed a collection entitled La Rhetorique des Dieux. IWas ' Rameau thinking of these two great c.omposers when he wrote his L 'Entretien des Muses?) Chambonnieres' sensitivity to the harpsichord was of course dependent l!Pon the precise sounds which he heard when he played his instrument. It follows that his music can only be understood, and its real origi nality and beauty appreciated, when it is played on a 17thcentury French harpsichord. These are now extremely' rare indeed, and those in good playing condition are even' rarer. Davitt Moroney
![[UNCUT]“ฅนตื่นธรรม”ปะทะ“หมอปลา-ปู่มหามุนี-อั๋นโอกิ”สะเทือนกระทรวงเวทมนตร์ Iคนดังนั่งเคลียร์I10 ตค.67](http://i.ytimg.com/vi/peMD_SAkwNc/mqdefault.jpg)
Nestas horas o Google é brilhante!
Um jeito suave de sublimar a Alma!
Very special music played by someone who understands. (There are too many unmusical "musicians"). This is true early harpsichord music, moving - and precise. I`ve been playing Chambonnièrres all evening and am happy to have rediscovered this jewel. Thanks to whoever posted it.
I equally love this performer's work and the composer.
Wonderful, thank you, didn't he play with superbly crafted ornaments.
Kenneth Gilbert 1931 - 2020 Canadian harpsichordist, organist, musicologist, and music educator.
Gilbert studied at the Conservatoire de musique du Québec à Montréal under Yvonne Hubert (piano) and Gabriel Cusson (harmony and counterpoint). He also studied the organ privately with Conrad Letendre in Montréal. In 1953 he won the Prix d'Europe for organ performance, an award which enabled him to pursue studies in Paris, France with Nadia Boulanger (composition), Maurice Duruflé (organ), Ruggero Gerlin (harpsichord), Gaston Litaize (organ), and Sylvie Spicket (harpsichord) from 1953-1955. He later studied the harpsichord privately under Wanda Landowska.
Excellent
Lovely to hear this again - I owned the original LP. Like being reunited with an old friend. Many thanks for the upload.
And that old friend can be visited from everywhere as long as you have an internet connection. I was working alone this afternoon at the office so I could pick my own recording alas not the quality of the speakers and soundcard I am used to at home but still very enjoyable.
Thank you so much for uploading a jewel like this, impossible to find nowadays!!
a pleasure to have, especially in these times: but, more generally and not to put too fine a point on it, the whole project is itself a public service.
The rest of the documentation by Davitt Moroney 1/2
Jacques Champion (who took the name Chambonnieres from his
mother's father, who took it from the region in France ' in which he
lived) was admirably suited to be the composer who first successfully
adapted the wonderful subtleties of the lute to the harpsichord since
there had been distinguished harpsiGhordists and lutenists in his family.
His father, Jacques Champion the elder, was also famed for the
beauty of his touch on the harpsichord, and his father's mother had
been the daughter of the Scottish lutenist Edinthon, a celebrated
player at the Valois court. IChambonnieres' father became a royal
harpsichordist in Paris; he died in his mid-eighties in about 1640, but
the young Chambonnieres had already taken over some of his duties in
1638.) Despite these duties at Court, he liked frequently to return to
his native countryside of Chambonnieres, at Plessis-feu·Ausoult, and it
was there in the early 1650s that he first met the young Couperin
brothers, Louis, Fran90is the elder, and Charles. His recognition of the
talent of Louis Couperin, in' particular, resulted in their becoming his
pupils and being introduced to the Court.
By this time, Chambonnieres' reputation had spread all over Europe,
and las he himself says, without exaggeration, in the preface to his
harpsichord pieces) his music was known "by the most eminent people
in Europe ... in .almost every. city in the world where the harpsichord is '
understood." In the early 1660s he seems to have fallen under an
official shadow at Court, the exact cause of which is unclear. The
shadow' never lifted. The publication of his harpsichord music in 1670
was evidently an att~mpt on his part to preserve his 'best work before
he died. Two volumes appeared together, containing eleven suites of
which the five heard on this record comprise the first b·ook. Each book
. contains 30 movements, .but there survive in manuscripts nearly 100
additional pieces, which he would perhaps also have published had he
lived longer. His remarkable two-volumed publication was the first
Louis , François the elder and Charles II were first the pupils of their father Charles I who was organist at Saint Pierre - Saint Paul Abbey in Chaumes en Brie. There was no miracle in this Couperin family 's story
The D major jig be so wistful
💝💝💝 Wonderful music, played so beautifully ... Thanks a lot for the great upload, as ever ..
Yes Kenneth Gilbert is one of my favourites too, perhaps because I learned to appreciate the harpsichord as an instrument in my youth with the four books of François Couperin. An endless stream of music and with the cassette deck I selected the 'most appealing' (read fastest) pièces. I did not appreciate the full extend of his playing yet but I learned his vocabulary very well that way. Such a nice articulation and phrasing.
@@HarpsichordVinylGallery 🌹
Folies Espagne, You re really the TOP of BEST maniacs on harpsichords, period composers, period instruments, phenomenal expression, detailing zooming, impressive infinitely aesthetic, aristocratic manners, information, dimensionality of Divinity 'till Absolute! Take all My Bottomed Amazement, Admiration Highest, Respect, Astonishment, & Consideration.
Don't overestimate it. It is just my personal joy to study at least every week one of my vinyls I have not heard for a long time. It is a bonus to make this wonderful music available for the happy few and expressing my deep admiration for these wonderful performers in the past we seem to forget far too soon.
@@HarpsichordVinylGallery On your site you mention a radio station that broadcasts live harpsichord recitals. Where I'm at the classical station never plays solo organ or harpsichord music. Apparently there is a fear that early keyboard instruments will drive away the audience. A while ago the station played the L. Couperin Pavane, but on the piano! But this distorts the music, which depends critically on meantone temperament.
@@TheGloryofMusic I guess you mean the Concertzender. It has a website. It is a unique broadcaster. So I was August the 12th in the Goethe Instituut in Amsterdam where Mario Sarrechia played a program on a Mother and Child virginal. And when I looked in November at the Concertzender (look for live and early music) I found out that that concert, which had only 200 people as an audience, was broadcasted by the concertzender www.concertzender.nl/mario-sarrechia-en-apollo-ensemble-live/ So it is not non-stop hpschd-music but for the small audience they do broadcast live performances like the A&A-Cembalo-duo www.concertzender.nl/programma/concertzender_live_526454/ So you have to do some searches to find these jewels once in a while.
Thank you so much for uploading. I've been fascinated by his music since reading Wilfred Mellers' book on François Couperin as a teenager.
Before it slips into oblivion. I never have seen this recording as a cd-release unfortunately.
The rest of the documentation by Davitt Moroney 2/2
such col lection of engraved keyboard music issued in France, and it
inaugurated a long line of magnificent volumes of Pieces de Clavecin
over the next 100 years.
His German contemporary, Froberger, is generally credited with
having given to the French-style keyboard suite the distinctive
sequence of allemande, courante, sarabande, gigue. Mersenne's
comment shows that ChambonniEnes was famous when Froberger was
still a teenager. We know moreover that when Froberger visited Paris
he wanted copies of Chambonnieres: music; furthermor.e, the
sequence of movements in Froberger's suites was sometimes different
in his own lifetime Ithe gigue could come second, and the suite could
end with a not-too-slow sarabande). All these factors indicate that the
Frenchman Chambonnieres deserves more credit than he usually gets
for the format of the nascent French suite. The French composers who
published music in the thirty or. forty years after his death almost
certainly knew more of his music than they knew of Froberger's, and
many of them h,ad been his pupils. Despite the variety found in
Chambonnieres' suites, there is usually a slow, quadruple-beat first
movement loften an allemande but sometimes a pavanne) and there
are usually two or three .courantes and a sarabande. IFive of the eleven
published suites' also have a gigue.) Very occasionally there is a piece
with a more descriptive title, such as the fine pavanne L 'Entretien des
Dieux which is probably a tribute to the virtuoso lutenist Denis Gaultier
who publis'hed a collection entitled La Rhetorique des Dieux. IWas '
Rameau thinking of these two great c.omposers when he wrote his
L 'Entretien des Muses?)
Chambonnieres' sensitivity to the harpsichord was of course
dependent l!Pon the precise sounds which he heard when he played
his instrument. It follows that his music can only be understood, and
its real origi nality and beauty appreciated, when it is played on a 17thcentury
French harpsichord. These are now extremely' rare indeed, and
those in good playing condition are even' rarer.
Davitt Moroney
О, such a splendor, divine completeness pleasured by deep real knowledge, Folies Espagne! Charming Exhaustiveness, am fascinated!