Harpsichord Recital
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Jacob Froberger, François Couperin, Johann Sebastian Bach, William Byrd, Henry Purcell, Domenico Scarlatti, Girolamo Frescobaldi, George Frideric Handel, Jean-Philippe Rameau
Label: Novalis
Magazine Review Date: 6/1988
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 150 018-1
Tracks:
| Composition | Artist Credit |
|---|---|
| (Il) Secondo libro di Toccate, Canzone, Versi d'hi, Movement: Hinni: |
Girolamo Frescobaldi, Composer
Girolamo Frescobaldi, Composer Kenneth Gilbert, Harpsichord |
| Pavan and Galliard, F No. 2, 'Ph. Tregian' |
William Byrd, Composer
Kenneth Gilbert, Harpsichord William Byrd, Composer |
| Keyboard Works from various sources, Movement: Tombeau fait à Paris (Minoriten Ms, c1730) |
Johann Jacob Froberger, Composer
Johann Jacob Froberger, Composer Kenneth Gilbert, Harpsichord |
| (The) Second Part of Musick's Hand-maid, Movement: A New Ground in E minor, Z T682 (Welcome to all ths, Z339) |
Henry Purcell, Composer
Henry Purcell, Composer Kenneth Gilbert, Harpsichord |
| (8) Suites for Keyboard, Set I, Movement: Suite No. 5 in E, HWV430 |
George Frideric Handel, Composer
George Frideric Handel, Composer Kenneth Gilbert, Harpsichord |
| Pigmalion |
Jean-Philippe Rameau, Composer
Jean-Philippe Rameau, Composer |
| (16) Concertos, Movement: F, BWV978 (Vivaldi: Concerto, Op. 3/3 RV310) |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Kenneth Gilbert, Harpsichord |
| Livres de clavecin, Book 3, Movement: 17th Ordre (E minor) |
François Couperin, Composer
François Couperin, Composer Kenneth Gilbert, Harpsichord |
| Sonatas for Keyboard Nos. 1-555 |
Domenico Scarlatti, Composer
Domenico Scarlatti, Composer |
Composer or Director: Johann Jacob Froberger, François Couperin, Johann Sebastian Bach, William Byrd, Henry Purcell, Domenico Scarlatti, Girolamo Frescobaldi, George Frideric Handel, Jean-Philippe Rameau
Label: Novalis
Magazine Review Date: 6/1988
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 150 018-4
Tracks:
| Composition | Artist Credit |
|---|---|
| (Il) Secondo libro di Toccate, Canzone, Versi d'hi, Movement: Hinni: |
Girolamo Frescobaldi, Composer
Girolamo Frescobaldi, Composer Kenneth Gilbert, Harpsichord |
| Pavan and Galliard, F No. 2, 'Ph. Tregian' |
William Byrd, Composer
Kenneth Gilbert, Harpsichord William Byrd, Composer |
| Keyboard Works from various sources, Movement: Tombeau fait à Paris (Minoriten Ms, c1730) |
Johann Jacob Froberger, Composer
Johann Jacob Froberger, Composer Kenneth Gilbert, Harpsichord |
| (The) Second Part of Musick's Hand-maid, Movement: A New Ground in E minor, Z T682 (Welcome to all ths, Z339) |
Henry Purcell, Composer
Henry Purcell, Composer Kenneth Gilbert, Harpsichord |
| (8) Suites for Keyboard, Set I, Movement: Suite No. 5 in E, HWV430 |
George Frideric Handel, Composer
George Frideric Handel, Composer Kenneth Gilbert, Harpsichord |
| Pigmalion |
Jean-Philippe Rameau, Composer
Jean-Philippe Rameau, Composer |
| (16) Concertos, Movement: F, BWV978 (Vivaldi: Concerto, Op. 3/3 RV310) |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Kenneth Gilbert, Harpsichord |
| Livres de clavecin, Book 3, Movement: 17th Ordre (E minor) |
François Couperin, Composer
François Couperin, Composer Kenneth Gilbert, Harpsichord |
| Sonatas for Keyboard Nos. 1-555 |
Domenico Scarlatti, Composer
Domenico Scarlatti, Composer |
Composer or Director: Johann Jacob Froberger, François Couperin, Johann Sebastian Bach, William Byrd, Henry Purcell, Domenico Scarlatti, Girolamo Frescobaldi, George Frideric Handel, Jean-Philippe Rameau
Label: Novalis
Magazine Review Date: 6/1988
Media Format: CD or Download
Media Runtime: 62
Mastering:
DDD
Catalogue Number: 150 018-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (Il) Secondo libro di Toccate, Canzone, Versi d'hi, Movement: Hinni: |
Girolamo Frescobaldi, Composer
Girolamo Frescobaldi, Composer Kenneth Gilbert, Harpsichord |
| Pavan and Galliard, F No. 2, 'Ph. Tregian' |
William Byrd, Composer
Kenneth Gilbert, Harpsichord William Byrd, Composer |
| Keyboard Works from various sources, Movement: Tombeau fait à Paris (Minoriten Ms, c1730) |
Johann Jacob Froberger, Composer
Johann Jacob Froberger, Composer Kenneth Gilbert, Harpsichord |
| (The) Second Part of Musick's Hand-maid, Movement: A New Ground in E minor, Z T682 (Welcome to all ths, Z339) |
Henry Purcell, Composer
Henry Purcell, Composer Kenneth Gilbert, Harpsichord |
| (8) Suites for Keyboard, Set I, Movement: Suite No. 5 in E, HWV430 |
George Frideric Handel, Composer
George Frideric Handel, Composer Kenneth Gilbert, Harpsichord |
| Pigmalion |
Jean-Philippe Rameau, Composer
Jean-Philippe Rameau, Composer |
| (16) Concertos, Movement: F, BWV978 (Vivaldi: Concerto, Op. 3/3 RV310) |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Kenneth Gilbert, Harpsichord |
| Livres de clavecin, Book 3, Movement: 17th Ordre (E minor) |
François Couperin, Composer
François Couperin, Composer Kenneth Gilbert, Harpsichord |
| Sonatas for Keyboard Nos. 1-555 |
Domenico Scarlatti, Composer
Domenico Scarlatti, Composer |
Author:
Spend an evening in the company of Kenneth Gilbert. You will discover through his playing a man of substance and charm whose command of the harpsichord repertory is in every way consummate. He has skilfully chosen for our entertainment works at once representative of important baroque keyboard genres and national styles. The first two items are played on a copy of an Italian instrument, the rest on a copy of a French double with a very noisy action which especially in the Couperin pieces—the engineers failed conspicuously to overcome (the disc was recorded at Schloss Leitheim, West Germany). The booklet is scarcely useful beyond its table of contents. But none of this need spoil the delights of the music and its interpreter.
Perhaps the greatest challenge facing the recitalist is how to shift from one composer, country or era to the next: far easier to play an evening's music by a single composer. But this ability to immerse himself in one composer's aesthetic and then another's is one of Gilbert's greatest strengths. His grasp of style runs deep, acquired with experience and through his knowledge of original sources; it is the result of having grappled with the philosophical as well as musical issues that must inevitably have arisen in the course of preparing many valuable modern editions of the repertory.
So the Italian selections, including Bach's arrangement of Vivaldi, are exhilaratingly virile in their rhythmic incisiveness, the English ones deliciously tinged with melancholy. In the Purcell he magically conveys a sense of improvisation, and in Bach's strummed accompaniment in the Largo as well as in Handel's Blacksmith that of gentle naivety. His performance of the famous Froberger Tombeau de M Blancheroche is a model of timing. In Couperin he is the acknowledged master: Ordre 17 provides ample scope for interpretation, from the grand scale of the Allemande and the stylish French Courante to the bucolic milkmaid scene, the delightful tinkling of bells and the blustering gusts of wind propelling the windmill blades. Balbastre's transcriptions of selections from Rameau's Pygmalion represent yet another genre of the literature: the orchestral effects in the Overture, in particular, betray their operatic origin and the swift volleys of repeated notes are performed with admirable precision. Gilbert never opts for a superficial effect, and indeed there are many moments, for example in the Froberger, the Purcell and the middle Scarlatti sonata, where the playing is thoughtful, even eloquent. If there were any further sentiment to be desired, be it in the course of an evening or a recital, it would be a greater sense of humour.'
Perhaps the greatest challenge facing the recitalist is how to shift from one composer, country or era to the next: far easier to play an evening's music by a single composer. But this ability to immerse himself in one composer's aesthetic and then another's is one of Gilbert's greatest strengths. His grasp of style runs deep, acquired with experience and through his knowledge of original sources; it is the result of having grappled with the philosophical as well as musical issues that must inevitably have arisen in the course of preparing many valuable modern editions of the repertory.
So the Italian selections, including Bach's arrangement of Vivaldi, are exhilaratingly virile in their rhythmic incisiveness, the English ones deliciously tinged with melancholy. In the Purcell he magically conveys a sense of improvisation, and in Bach's strummed accompaniment in the Largo as well as in Handel's Blacksmith that of gentle naivety. His performance of the famous Froberger Tombeau de M Blancheroche is a model of timing. In Couperin he is the acknowledged master: Ordre 17 provides ample scope for interpretation, from the grand scale of the Allemande and the stylish French Courante to the bucolic milkmaid scene, the delightful tinkling of bells and the blustering gusts of wind propelling the windmill blades. Balbastre's transcriptions of selections from Rameau's Pygmalion represent yet another genre of the literature: the orchestral effects in the Overture, in particular, betray their operatic origin and the swift volleys of repeated notes are performed with admirable precision. Gilbert never opts for a superficial effect, and indeed there are many moments, for example in the Froberger, the Purcell and the middle Scarlatti sonata, where the playing is thoughtful, even eloquent. If there were any further sentiment to be desired, be it in the course of an evening or a recital, it would be a greater sense of humour.'
Harpsichord Recital
Harpsichord Recital
Harpsichord Recital
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