Instilling Inspiration into Sound
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Vincent Galland, harpsichordist
Coach House, Green College, UBC and livestreamed
Wednesday, February 5, 5-6:30 pm with reception to followin the series
Early Music Vancouver at Green College -
Beyond technique and repertoire, Vincent Galland will discuss what inspires a performer to play.
What makes a performing artist produce a successful music experience for its audience? Is it the perfect execution of learned techniques, sharpened tools, and faithful repetitions? Is it simply the repertoire itself, the taste and genius of the composer, only repeated and read from a sheet of music? What does the musician think of during a performance? Throughout the years, those were some of the questions Vincent Galland has been asked by members of the audience following a recital or concert. It can be valid to point directly at the excellence required to perform some masterpieces on challenging instruments. Yet, one could argue this is not enough, and certainly not enough from a performer’s point of view, in a quest to transmit an inspiration, an emotion, or a vision into a sound, in a given instant. During this lecture-recital, we will explore some of the other necessary components of a performer’s mindset that are not academically taught, how they can be formed, and how the artist can convey what inspires them in their music, beyond technique or repertoire. The programme will be accompanied by brief notes written by the artist, aiming to directly illustrate what he wishes to evoke while playing.
Programme:
Prelude in D minor - Pièces de Clavecin (1689)
Jean-Henri d'Anglebert (1629 – 1691)
Written as an improvisation piece, it serves to test the acoustics of the room and the mood of the instrument. Contemplative and dynamic at the same time, the last measures remind me of organ music. In my opinion, it is the perfect piece to start the day.
Sonata in D minor BWV 964, violin transcription – Adagio
Johann Sebastian Bach (1685 – 1750)
A violin sonata transcription for keyboard, with only the first movement performed here. A superb melodic journey in which I try to create empty spaces to breathe as much as possible.
La Superbe ou la Forqueray – 17th Ordre (1722)
François Couperin (1668 – 1733)
Paying homage to gambist Antoine Forqueray, Couperin blends recognizable viola de gamba bass lines with his own precise and articulated ornamented lead voice. I enjoy playing this piece with intensity to highlight some of the more dramatic elements present throughout.
Suite in E-Flat Major, FbWV 631
Johann Jakob Froberger (1616 – 1667)
A secret gem my first harpsichord master suggested I made my own. Although I did eventually learn the typical Froberger and related 17th-century French style of playing, I had always played this with an unusual approach. I often picture myself performing this piece back in my first classroom, overlooking the Vercors mountain range.
Passacaille in C Major (1660)
Louis Couperin (1626 – 1661)
Though in typical French seventeenth-century style, this piece gave glimpses of a new and avant-gardist musical direction. This piece is excellent for creating volume and dynamic variations with the instrument.
Chaconne, Suite in F Major (1705)
Gaspard Le Roux (1660 – 1707)
A song full of promise.*************************
EXTRA
La Sylva – Fifth Suite in C minor
Antoine Forqueray (1672 –1745) & Jean-Baptiste Forqueray (1699 – 1782)
Jean-Baptiste could not have paid tribute to his father’s music more beautifully than in this piece, despite the latter’s request never to transcribe it to the harpsichord. I try to imitate the depth of the viola da gamba, and reinforce the sense of nostalgia this piece alludes to.
Vincent Galland is a passionate musician and keyboardist with a natural disposition for Early Music. Acting on the advice of his first piano teacher and following his growing love for baroque music, he entered the Grenoble National Conservatory (France) at age ten to study music theory, and harpsichord with Arnaud Pumir.
He then pursued advanced keyboard studies (Harpsichord, organ, and pianoforte) at the renowned Oberlin College & Conservatory of Music (Ohio) with Lisa Goode Crawford, one of the most highly respected music professors in the United States. He then continued to study under Webb Wiggins and international artists such as Skip Sempé, Davitt Moroney, and Arthur Haas. He obtained a performance diploma from Oberlin, and his French baccalaureate with the highest honours, in 2008. Vincent then changed course to study economics and management at McGill University through a BComm, as well as completing a music industry management program offered by the Berklee College of Music in Boston. During his years in Montreal, Vincent continued to perform on the harpsichord during concerts given by masters students at McGill under the mentorship of Professor Hank Knox, and through solo recitals in the Eastern Townships. Vincent continued his professional and academic career while being involved in both modern and classical music projects in London and Montreal.
He now lives in Vancouver since 2022 and aims to perform locally to provide more opportunities for the public and community to discover and enjoy baroque music.
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