Pianist here. I’m very picky about my classical music recordings. This is one of the finest recordings of late-Renaissance/early Baroque keyboard music I’ve heard. The fact that I actually like how it sounds on the modern piano is a testimony to the performer. The works glitter, sparkle, dance, come alive, and breathe humanity and love. There is such a poetry in the voices bouncing off one another and weaving in and out , crossing and separating over and over again. Each short movement expresses a clear and complete musical journey within the construct of a miniature. The amount of space the performer places between the miniatures gives the listener just enough time to reflect, breathe and then be whisked into the next insatiating piece.
Quite beautiful works, which bespeak his mastery of counterpoint, and intricate rhythmic variety. That first Galliard had me up and ready to twirl, dance and spin. I’ve discovered another master. All hail Senior Orlando Gibbons.
It should be noted that this video comprises the complete keyboard music of Gibbons, not including his organ music (which was considered a totally different animal at that time). All these works were for "clavier", or any available keyboard (harpsichord, clavichord, or even chamber (reed) organ). It can rightly be performed on piano as well (or synthesizer, for that matter; any "keyboard" can be employed). These performances are idiomatic and very songful; Mr. Pienaar (or is it Ben-Pienaar?) does not fall into the trap (as so many pianists do who play Baroque music) of trying to imitate the limitations of the harpsichord. So these are very expressive and beautiful performances.
Hello. I'm curious what you mean by falling into the trap of trying to imitate the limitations of harpsichord. Do you mean doing extra and/or lengthy ornaments to make up for the short sustain?
preciosa música, el piano da una sonoridad peculiar, el clave es el instrumento del compositor, o el virginal, la espineta... así y todo estas obras de Gibons son realmene gratas de oir.
I used to think these transitional composers between the Renaissance and Baroque had too little to offer, except for Monteverdi. Gibbons rocks, he is fascinating.
Gould brought me here too. As a true lover of the baroque it is embarrassing to admit to my ignoramus-hood. Gibbons is wonderful and if this album is indicative of his music, then Gibbons has a new disciple!
Gould did not bring me here. Although I can vaguely remember Gould talking about Gibbons, it was the Philip Jones brass ensemble playing "in nomine" on a random 99 cent record I got at goodwill which transfixed me. I mostly bought it because I love that earl of oxford march.. .. a great vinyl LP record which you must possess asap!!! Hahah music is SO gooood
one of those recordings that are sooo unique that you MUST have it. You can find dozens or hundres of recordings of Beethoven's Symphonies but this is more on the rare or unique side. Wonderful. Moreover, it's one of the best album to listen to when working.
@paul w If that's true it is hard to understand why Gould didn't record the complete Gibbons keyboard music. Instead he only recorded a handful of pieces. On the other hand he recorded almost everything Bach composed for the keyboard.
@@tomfurgas2844 Here is what Gould said in "The Alchemist" documentary: Gould: You know who my favorite composer is? Guess. Bruno: Bach Gould: No... Well, Bach or Schoenberg if I were identifying with, hopefully, a master thecnician, yes, but in terms of SPIRITUAL QUEST, no. Are you ready? 1, 2, 3? Orlando Gibbons.
It sounds very nostalgic. Was Gibbons longing to go back to mediëval times? Or maybe his childhood, like Chopin. He would have loved this music if only it had been available at the time! Great performance, thanks!
Gibbons rocks hard. Like Giralamo Frescobaldi and Johannes Ockeghem and Georg Muffat and Henry Purcell, Gibbons got unfairly overshadowed by more famous big names, but these composers qualify in no sense as "minor." They kick ass and take names of much better-known composers.
Ero piuttosto scettico sulla trasposizione per piano di musiche concepite per clavicembalo o virginale, ma l'interpretazione di Pienaar mi ha convinto, tanto più che non imita il "genio e sregolatezza" di Gould.
UA-cam premium is the easiest $15/mo of my life. It’s my only subscription. Well worth it. UA-cam has everything, and you don’t get interrupted with premium.
how to become the most hated talented pianist of all time: step 1: become a talented pianist (this is hard) step 2: have this guy be your favourite composer ever for reasons that no one quite knows step 3: bully the composing gods step 4: make weird interpretations you've now become glenn gould
At that time, the early Baroque period, music for keyboard was designated for "clavier", which meant any available keyboard; harpsichord, clavichord, or even chamber organ. As such, any music written for "clavier" can just as correctly be performed on the modern piano. In fact, I have no doubt that composers of that era would be delighted that their works are performed on the piano, a much more expressive instrument (at least dynamically) than the harpsichord, which had no expressive potential (loud-soft, crescendos or diminuendos). And remember, Bach himself once performed on an early prototype piano, giving the builder (Cristofori) penetrating insights and critiques into how he needed to improve the instrument, which he work to incorporate into the instrument we know today.
*"Keep in mind the piano didn't exist when these were written."* Yeah, I'll also keep in mind that audio recording didn't exist when these pieces were written either. Therefore, we should not employ recording technology to listen to them - they're for live performance *only.* And to be perfectly purist, we should not use printing presses for reproducing the scores, nor should we use electric lights during their performance, as these, too, are anachronisms. Amirite?
Pianist here. I’m very picky about my classical music recordings. This is one of the finest recordings of late-Renaissance/early Baroque keyboard music I’ve heard. The fact that I actually like how it sounds on the modern piano is a testimony to the performer. The works glitter, sparkle, dance, come alive, and breathe humanity and love. There is such a poetry in the voices bouncing off one another and weaving in and out , crossing and separating over and over again. Each short movement expresses a clear and complete musical journey within the construct of a miniature. The amount of space the performer places between the miniatures gives the listener just enough time to reflect, breathe and then be whisked into the next insatiating piece.
What a mammoth work of love to record these complete works. The years of devotion required... magnificent performance.
Quite beautiful works, which bespeak his mastery of counterpoint, and intricate rhythmic variety. That first Galliard had me up and ready to twirl, dance and spin. I’ve discovered another master. All hail Senior Orlando Gibbons.
Une musique magnifique d une densite incroyable je n en reviens toujours pas quel compositeur et interpretre!...La musique est eternelle...Merci...
Excellent, between the Renaissance and Baroque. What a genius!!!!
It should be noted that this video comprises the complete keyboard music of Gibbons, not including his organ music (which was considered a totally different animal at that time). All these works were for "clavier", or any available keyboard (harpsichord, clavichord, or even chamber (reed) organ). It can rightly be performed on piano as well (or synthesizer, for that matter; any "keyboard" can be employed). These performances are idiomatic and very songful; Mr. Pienaar (or is it Ben-Pienaar?) does not fall into the trap (as so many pianists do who play Baroque music) of trying to imitate the limitations of the harpsichord. So these are very expressive and beautiful performances.
Gibbon's dates are 1583-1625. Sadly, he died at only 41. Probably from the plague.
Hello. I'm curious what you mean by falling into the trap of trying to imitate the limitations of harpsichord. Do you mean doing extra and/or lengthy ornaments to make up for the short sustain?
for mobile users...
1) 00:00:00 - Fantasia MB10
2) 00:01:40 - Pavan MB17
3) 00:05:54 - Galliard MB24
4) 00:08:58 - Ground MB26
5) 00:10:30 - Mask: The Fairest Nymph MB43
6) 00:12:12 - Fantasia MB14
7) 00:14:09 - Alman MB35
8) 00:15:08 - Galliard MB25
9) 00:16:38 - Ground: The Italian Ground MB27
10) 00:18:18 - Mask: Lincoln's Inn Mask MB44
11) 00:19:25 - Prelude MB2
12) 00:20:33 - Alman MB37
13) 00:22:18 - Alman MB36
14) 00:23:54 - Fantasia MB6
15) 00:24:51 - Fantasia MB5
16) 00:25:20 - Galliard: Lady Hutton MB20
17) 00:26:09 - Galliard MB23
18) 00:27:28 - Galliard MB21
19) 00:29:03 - Fantasia MB9
20) 00:33:41 - Pavan MB16
21) 00:37:59 - Ground: Whoop, Do Me No Harm, Good Man MB31
22) 00:39:11 - Ground: Peascod Time, Or, The Hunt’s Up MB30
23) 00:44:42 - Fantasia MB7
24) 00:48:41 - Alman MB33
25) 00:51:47 - Coranto: French Coranto MB38
26) 00:52:43 - Coranto MB39
27) 00:53:58 - Mask: Welcome Home MB42
28) 00:55:06 - Prelude MB1
29) 00:56:58 - Versus MB4
30) 00:57:30 - Fantasia MB11
31) 01:00:00 - Alman MB34
32) 01:01:05 - Coranto MB40
33) 01:01:53 - Fantasia MB13
34) 01:03:57 - Mask: The Temple Mask MB45
35) 01:05:10 - Ground: The Queens’s Command MB28
36) 01:06:53 - Ground: The Woods So Wild MB29
37) 01:10:15 - French Air MB32
38) 01:11:06 - Prelude MB3
39) 01:12:48 - Fantasia MB8
40) 01:15:41 - Pavan MB15
41) 01:20:53 - Mask: Nann's Mask Or French Alman MB41
42) 01:22:23 - Pavan: Lord Salisbury MB18
43) 01:30:11 - Galliard: Lord Salisbury MB19
44) 01:31:52 - Fantasia MB12
doing gods work
Thank you so much 😢🙏
Exceptional balance of voices, beautiful tone definition, excellent sound recording! Gratitude to all who made it possible
One of Glenn Goulds favourite composer
preciosa música, el piano da una sonoridad peculiar, el clave es el instrumento del compositor, o el virginal, la espineta... así y todo estas obras de Gibons son realmene gratas de oir.
Gibbons is one of my favourite Renaissance composers. Thank you for posting 🙂
I used to think these transitional composers between the Renaissance and Baroque had too little to offer, except for Monteverdi. Gibbons rocks, he is fascinating.
And Sweelinck? Frescobaldi? Arauxo?
This is a perfect example of Glenn Gould's reason(s) for Gibbons being his favorite.
He explains in the documentary film “The Retreat” with Bruno. He starts around 1:30 with his explanation.
ua-cam.com/video/_KdONuvG7Ik/v-deo.html
Gould brought me here too. As a true lover of the baroque it is embarrassing to admit to my ignoramus-hood. Gibbons is wonderful and if this album is indicative of his music, then Gibbons has a new disciple!
Gould did not bring me here. Although I can vaguely remember Gould talking about Gibbons, it was the Philip Jones brass ensemble playing "in nomine" on a random 99 cent record I got at goodwill which transfixed me. I mostly bought it because I love that earl of oxford march.. .. a great vinyl LP record which you must possess asap!!! Hahah music is SO gooood
Marvelous. This is just what my mind and body need today. The pianist is one of the finest I've heard. I have to find more of his work. Thank you!
Got here through Gould also. Saw Gibbons grave at St. Paul's Cathedral.
one of those recordings that are sooo unique that you MUST have it. You can find dozens or hundres of recordings of Beethoven's Symphonies but this is more on the rare or unique side. Wonderful.
Moreover, it's one of the best album to listen to when working.
Glenn Gould brought me here.
same
me too!
Me too!
Me as well. Didn't know the composer until he was mentioned as Gould's favourite composer...
This guy is pretty good! I just played through a couple of hours of Gibbons. I would play it like this guy…
Gould’s favorite composer.
I think Gould was having a bit of fun. I am sure he loved Gibbons, but it's hard to imagine he didn't think Bach was greater.
Oh it's no doubt he preferred bach, I wonder why he brought gibbons' name up lol
@paul w If that's true it is hard to understand why Gould didn't record the complete Gibbons keyboard music. Instead he only recorded a handful of pieces. On the other hand he recorded almost everything Bach composed for the keyboard.
@@tomfurgas2844 He probably liked more Gibbons but accepted that Bach was better (I think Sweelinck was the best keyboard composer before Bach anyway)
@@tomfurgas2844 Here is what Gould said in "The Alchemist" documentary:
Gould: You know who my favorite composer is? Guess.
Bruno: Bach
Gould: No... Well, Bach or Schoenberg if I were identifying with, hopefully, a master thecnician, yes, but in terms of SPIRITUAL QUEST, no.
Are you ready? 1, 2, 3? Orlando Gibbons.
Thanks very much for sharing! Marvelous!
8:46 never heard that kind of cadence before.
So beautiful ! Thanks for sharing :)
It sounds very nostalgic. Was Gibbons longing to go back to mediëval times? Or maybe his childhood, like Chopin. He would have loved this music if only it had been available at the time!
Great performance, thanks!
lovely, tks !
to the glory of God :)
Gibbons rocks hard. Like Giralamo Frescobaldi and Johannes Ockeghem and Georg Muffat and Henry Purcell, Gibbons got unfairly overshadowed by more famous big names, but these composers qualify in no sense as "minor." They kick ass and take names of much better-known composers.
Glenn Gould also brought me here.
Who else fucking dropped their jaw when the left hand started shredding in the piece @ 15:08
Is it me or do a few of the Gibbons pieces sound like John Dowland's lute pieces? Exactly the same, in fact. I must be confused?
Sin duda con el piano se desvirtúan pasajes que se pueden identificar idóneos con el clavecín. La obra es más ella misma. Una opinión personal, claro.
Just like playing Bach's lute suites on electric guitar.
i find a feeling similar to Scriabin in this musc
shit bangs
Ero piuttosto scettico sulla trasposizione per piano di musiche concepite per clavicembalo o virginale, ma l'interpretazione di Pienaar mi ha convinto, tanto più che non imita il "genio e sregolatezza" di Gould.
When a video is interrupted by advertisements, it makes me HATE the product!
UA-cam premium is the easiest $15/mo of my life. It’s my only subscription. Well worth it. UA-cam has everything, and you don’t get interrupted with premium.
@@MrPianogeek
You make sense.
But I call it extortion!
@@renzo6490 extortion, capitalism, tomato tomahto !
@@MrPianogeek Money lenders in the Synagogue.
No worries! It's not like your hate causes significant damages whatsoever ^_^
Why-not on the heavy pianoforte/fortepiano ?
Lucy brought me here.
how to become the most hated talented pianist of all time:
step 1: become a talented pianist (this is hard)
step 2: have this guy be your favourite composer ever for reasons that no one quite knows
step 3: bully the composing gods
step 4: make weird interpretations
you've now become glenn gould
Keep in mind the piano didn't exist when these were written.
At that time, the early Baroque period, music for keyboard was designated for "clavier", which meant any available keyboard; harpsichord, clavichord, or even chamber organ. As such, any music written for "clavier" can just as correctly be performed on the modern piano. In fact, I have no doubt that composers of that era would be delighted that their works are performed on the piano, a much more expressive instrument (at least dynamically) than the harpsichord, which had no expressive potential (loud-soft, crescendos or diminuendos). And remember, Bach himself once performed on an early prototype piano, giving the builder (Cristofori) penetrating insights and critiques into how he needed to improve the instrument, which he work to incorporate into the instrument we know today.
*"Keep in mind the piano didn't exist when these were written."*
Yeah, I'll also keep in mind that audio recording didn't exist when these pieces were written either. Therefore, we should not employ recording technology to listen to them - they're for live performance *only.* And to be perfectly purist, we should not use printing presses for reproducing the scores, nor should we use electric lights during their performance, as these, too, are anachronisms. Amirite?
@@Psalm51V15 I would add comfortable chairs for listening and reliable central heating.
When you just want to remind people of how old a composer is.
Glenn Gould sucks