CONCERT-HOMMAGE À Kenneth GILBERT (1931-2020)

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CONCERT-HOMMAGE À Kenneth GILBERT (1931-2020) CONCERT-HOMMAGE à Kenneth GILBERT (1931-2020) Chapelle du Musée de l’Amérique francophone enregistré dimanche 27 septembre 2020 à 14 h avec Pierre Bouchard et Benjamin Waterhouse Diffusion gratuite sur la plateforme webdiffusion.mcq.org du Musée de la civilisation Le claveciniste et organiste mondialement connu Kenneth Gilbert s’est éteint le 15 avril 2020. Inspiré par ce qu’on venait de faire à Versailles en y ramenant à l’existence l’orgue de la Chapelle du Roi-Soleil, il avait proposé et soutenu avec enthousiasme la reconstruction à l’identique de l’orgue de 1753 de Notre-Dame de Québec et son installation dans la Chapelle du Musée de l’Amérique francophone. Pour rappeler sa mémoire, deux artistes qui l’ont bien connu lui rendent un hommage musical. Programme Pierre Bouchard au clavecin ‘1733’ Prélude libre D’ANGLEBERT Jean-Henry Chaconne (1629-1691) Courante, extraite du 2e Ordre COUPERIN François Les Ondes (1668-1733) Pantomime Sonate en ré M (K119) SCARLATTI Domenico (1685-1757) Benjamin Waterhouse à l’orgue ‘1753’ Quatre extraits du Kyrie de la Messe pour les Couvents : COUPERIN François Plein jeu | Fugue sur la Trompette | Récit de Chromhorne Trio à 2 dessus de Chromhorne et la basse de Tierce LIVRE D’ORGUE de Montréal Anonyme Trio du 5e ton (Dialogue de Récits) 17e siècle Dialogue en C Pièce d’Orgue BWV 572 BACH, Johann Sebastian (version originale d’après le manuscrit de J.G. Walther) (1685-1750) Collection du Musée Orgue ‘1753’ : reconstruction en 2009 par Juget-Sinclair op. 35 de l’instrument qui avait été fabriqué à Paris par le facteur Richard, installé dans la cathédrale de Québec, puis détruit lors du siège de la ville en 1759; diapason 392, tempérament mésotonique Clavecin ‘1733’ : commandé en 1976 par Scott Ross (qui y travailla de ses mains), Hubert-Laforge op. 7, reproduction du François Blanchet conservé au Château de Thoiry (ouest de Paris); diapason 415, tempérament ancien Fonds Hubert et Florence Laforge GILBERT Kenneth (1931-2020) témoignages rassemblés par Hubert Laforge « Il était comme un père musical pour moi. C’est sans doute la personne la plus intelligente que j’ai rencontrée dans ma vie. Il suggérait toujours des choses mais n’imposait jamais rien. » Olivier Beaumont, Paris, 17 avril 2020 « L’apport de Kenneth Gilbert pour le clavecin est considérable, en particulier pour le répertoire français. Il y a eu une façon de jouer avant lui et une façon après lui. Le claveciniste a mené d’importants travaux d’édition des œuvres complètes pour clavecin de Couperin, Domenico Scarlatti, Anglebert, Bach, Rameau, Frescobaldi. Kenneth Gilbert est aussi connu pour sa grande discographie, plus de 100 disques chez Harmonia Mundi et chez Archiv Produktion. » France-Musique 17 avril 2020 « Kenneth Gilbert était une sommité dans sa discipline. La partie émergée de l’iceberg, ce sont évidemment les disques qui ont popularisé son nom à travers la planète…. Le travail d’éditeur restera sans doute le legs majeur de Kenneth Gilbert. (Ainsi) le musicien éditera pour Heugel les 555 Sonates de Scarlatti, un travail de 15 ans publié en onze volumes. C’est un disciple célèbre, Scott Ross, qui en a réalisé le premier enregistrement mondial. La dimension pédagogique du legs de Kenneth Gil- bert est immense. » Christophe Huss, Le Devoir, 17 avril 2020 « Le pionnier des instruments ‘historiques’ et professeur d’une génération entière vient de s’éteindre. À Paris, il fréquente les meilleures écoles, Maurice Duruflé et Gaston Litaize pour l’orgue, Nadia Boulanger pour l’écriture. Mais aussi, en Toscane, Ruggero Gerlin pour cet instrument dont le séduit l’équilibre parfait entre pudeur et immédiateté : le clavecin. Il remonte alors à la source du Pr Gerlin, Wanda Landowska, refondatrice du clavecin au XXe siècle, mais comprend tout de suite : l’énorme Pleyel métallique de Landowska et les machines hybrides des années 1950 ne sont d’aucun secours à Bach. Confirmation rapide auprès d’un autre maître, Gustav Leonhardt : si l’instrumentiste transmet, le corps et l’âme du son résident dans l’instrument. » Ivan A. Alexandre, Diapason, Paris, le 17 avril 2020 « Aussi discrètement qu’il a vécu s’est éteint à Québec (Canada) le claveciniste Ken- neth Gilbert. Il avait 88 ans. Le musicien, qui a fait partie des pionniers de la musique baroque, était féru de musique française, dont il a contribué à la redécouverte. Mais c’est en grand pédagogue, plébiscité dans la plupart des prestigieux conservatoires, écoles ou académies, qu’il a contribué à façonner l’essentiel de la génération des clavecinistes d’aujourd’hui. » Marie-Aude Roux, Le Monde, Paris, 20 avril 2020 « His contributions to the twentieth-century reevaluation and revival of early key- board repertoire have had a significant and lasting impact on the way we play, hear, edit, teach, and think about music of the past. Kenneth had a great interest in current thinking in science, politics, literature, and the arts. » Hank Knox, Historical Society of North America Newsletter, États-Unis et British Harpsichord Society, Grande-Bretagne « Après ma découverte du Livre d’orgue de Montréal, j’ai eu le privilège de travailler avec Kenneth Gilbert sur l’édition critique du manuscrit. Je puis affirmer que comme éditeur, il avait l’œil aiguisé – rien ne lui échappait et ses décisions éditoriales étaient nourries par sa vaste connaissance du ré- pertoire de l’époque. Par la suite, une lettre de 1753 d’un chanoine de la cathédrale de Kenneth Gilbert et l’orgue ‘1753’ Québec faisant référence à une visite chez un notaire à Paris pour la commande d’un orgue, m’a menée à la découverte du contrat et à la description de l’instru- ment, qui fut malheureusement détruit lors du siège de Québec en 1759. Kenneth aurait voulu que l’on redonne vie à cet orgue pour le 400e anniversaire de la ville de Québec. Avec sa persistance et celle d’Hubert Laforge, Jacques Joli-Cœur, Lors de son doctorat Honoris Causa reçu de l'Université Laval en 2010. | g. à d. : Paul Cadrin, Hubert Laforge, Richard Paré, Kenneth Benjamin Waterhouse et Antoine Bouchard de notre Comité, nous y sommes Gilbert, Florence Laforge, Denis Brière | Crédit : Université Laval arrivés un an plus tard en 2009 grâce au travail inlassable de la direction et du personnel du Musée de la civilisation. Bien que montréalais de naissance, le cœur de Kenneth était resté à Québec, depuis ses années d’enseignement. Les sonorités typiquement françaises que vous entendez cet après-midi, il aimait à penser qu’elles ont résonné dans les oreilles de l’un de ses ancêtres, dont la famille s’était établie dans la région de Québec dès le XVIIe siècle. » Élisabeth Gallat-Morin, Montréal « Kenneth Gilbert et Scott Ross, indissociables, nous ont personnellement comblés de leur présence et amitié. L’importance et la renommée de leurs réalisations permettent d’affirmer, avec en particulier les 555 sonates de Scarlatti, le premier pour l’édition critique et le second pour l’enregistrement intégral, qu’ils ont ensemble accédé à l’immortalité. » Florence et Hubert Laforge, Québec Pierre BOUCHARD, qui a étudié en Europe sous la direction Benjamin WATERHOUSE, docteur en musique de de Kenneth Gilbert et de Gustav Leonhardt, poursuit une l’Université de Montréal dont la thèse portait sur la musique carrière de musicien soliste et chambriste, tant à l’orgue d’orgue de J.S. Bach. Il a étudié aussi aux universités qu’au clavecin et au pianoforte. Il est aussi impliqué dans les Laval avec Antoine Bouchard et de Grenoble avec domaines de l’entretien, de la facture et de la diffusion de Pierre Pertigon. Il est l’organiste titulaire de l’orgue de la ces instruments pour lesquels il est fréquemment consulté cathédrale anglicane Holy Trinity de Québec et a été actif à titre d’expert. Organiste à l’oratoire St-Joseph de St-Vallier dès les débuts dans le comité pour la reconstruction de à Québec, il est également organiste titulaire à la Basilique l’orgue de 1753. Il s’intéresse à l’orgue historique sous toutes de Sainte-Anne-de-Beaupré, où il a produit un CD qui fait formes et a enregistré, en particulier chez ATMA, sur l’orgue entendre les deux instruments, celui de la Basilique et celui Louis Mitchell 1872 de Saint-Fabien-de-Panet, sur l’orgue de la chapelle de l’Immaculée. Il a aussi collaboré à plusieurs Casavant 1885/1912 de la cathédrale de Saint-Hyacinthe, et enregistrements et concerts de l’Ensemble Nouvelle-France. sur l’orgue England & Son 1790 de la cathédrale anglicane..
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