![]() He was artist-in-residence 1969-1970 at the University of Ottawa and also taught summer courses at the Vleeshuis museum in Antwerp from 1971 to 1982 and in Haarlem, Holland (from 1973). Each summer, he is a guest professor at the Accademia Chigiana in Siena, Italy. That year, he became professor of harpsichord at the Cons de Paris, the first Canadian to hold such a post. In 1988, he began to teach at the Mozarteum in Salzburg. He gave master-classes in several European cities in many universities in the USA including Berkeley, Michigan, Florida and Birmingham. Kennet Gilbert taught from 1957 to 1974 at the Conservatoire de musique du Québec from 1964 to 1972 at McGill University (Honoraru D MUS in 1981) from 1969 to 1976 at Laval University, and, as guest professor from 1971 to 1974 at the Royal Flemish Cons in Antwerp. A resident of France in the 1970's, he gave recitals there (and in Germany, England, and Switzerland) and a series of joint recitals with the violinist Robert Kohnen for Radio France. In 1967, with Robert Koff in Montreal, he played all the J.S. He was a soloist several times with the Chicago Symphony Chorus and performed with the Montreal Symphony Orchestra, Orchestre Symphonique de Québec, Toronto Symphony Orchestra, National Arts Centre Orchestra, and Vancouver Symphony Orchestra. has there been such a fruitful coincidence of the scholar's mind and the performer's fingers in this field'. ![]() He does so by harnessing the discipline of scholarship to his flair for performing the music. is to rescue the music from a small circle of connoisseurs and to make it. ![]() Stephen Plaistow in Gramophone (May 1973) said: 'Kenneth Gilbert's achievement. He became widely admired for his concerts, broadcasts, and recordings. In 1968, he gave his first recital in London and undertook an international career. Reflecting his editorial interests, Kenneth Gilbert's performance after 1965 was devoted almost completely to harpsichord playing. With Élizabeth Gallat-Morin, he produced a annotated edition of the Livre d'orgue de Montréal published in three volumes at the Éditions Jacques Ostiguy (1985, 1987, 1988). Couperin's complete works for L'Oiseau-Lyre (Monaco). In 1980, he began to prepare a re-issue of F. Bach's Goldberg Variations ( BWV 988) (Salabert 1979), Girolamo Frescobaldi's first and second books of toccatas (Zanibon 1979, 1980) and Rameau's complete harpsichord works (Heugel 1979). Moreover, he prepared new editions of J.S. Couperin (Broude 1973) and edited the complete harpsichord works of Jean-Henri d'Anglebert (Heugel 1975). Gilbert also prepared a fasimile edition of the complete harpsichord works of F. The research was subsidized in part by the Gulbenkian Foundation in Lisbon and the Canada Council. 11 volumes were published by Heugel (1971-1984). Following the international success of the Couperin edition, Gilbert began the monumental task of preparing a new edition (from existing editions) of the 555 sonatas of Domenico Scarlatti. This edition excited much admiration for its scholarly approach, posited on a scrupulous re-examination of the original engraved scores. Heugel agreed to publish Gilbert's four volumes of the edition as part of its early-music series, Le Pupitre (1969-1972). While in Paris (1965) on a Québec government grant, doing research on François Couperin in preparation for a CBC series (and subsequent RCI recording) of the composer's complete works for harpsichord, Kenneth Gilbert suggested that a new edition would be appropriate to honour the F. The society Ars Organi, in the formation of which Gilbert played a leading role, also influenced organ performance standards in eastern Canada. von Beckerath of Hamburg) and Gilbert's performances on it strongly influenced subsequent organ building practice in Canada. Back in Canada he designed and in 1959 supervised the installation at Queen Mary Road of the first major modern tracker organ in Canada. In 1955 he gave a recital of Canadian organ music for the RTF (Radio France). ![]() Though he was on leave in 1953-1955 for these studies, he remained officially the organist and music director from 1952 to 1967 at Queen Mary Road United Church (now Rosedale Queen Mary United Church) in Montreal. His harpsichord teacher in France was Italian-born Wanda Landowska protégé Ruggero Gerlin. Gilbert won the 1953 Prix d'Europe for organ and studied for two years in Europe with Nadia Boulanger (composition), Gaston Litaize and Maurice Duruflé (organ), and Sylvie Spicket (harpsichord). The Canadian harpsichordist, organist, musicologist, teacher, Kenneth, Gilbet, studied with Conrad Letendre (organ) and, at the Conservatoire de musique du Québec, with Yvonne Hubert (piano) and Gabriel Cusson (harmony and counterpoint).
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