(English follows)
Cette musique de François Couperin (https://tinyurl.com/yags3uyj) occupe une place étrange dans ma vie
En effet, elle est apparue, fidèlement, et ce à de nombreuses reprises, un peu avant que ne se produisent des événements importants, bons et moins bons.
À tel point que chaque fois que je l’entends, je me demande ce qui va se produire, et même si ce sera pour la dernière fois.
Faire ce sketch, ce qui a requis de nombreuses écoutes, a été un peu (beaucoup) comme si je tirais le diable par la queue...
La toute première fois que j'ai entendu cette musique interprétée au clavecin (je n’en connaissais que des versions au piano), et ce peu après mon arrivée au Canada (1971), c’était sous les doigts du grand musicien montréalais Kenneth Gilbert (https://www.thecanadianencyclopedia.ca/en/article/kenneth-gilbert-emc/).
Il est devenu immédiatement un de mes musiciens préférés, son immense talent, son érudition et son humilité ont fait que je lui suis resté fidèle, j’écoute encore aujourd’hui ses disques avec un immense plaisir

Imaginez ma surprise -non, mon ravissement- quand, 37 ans plus tard, j’ai eu le bonheur et le privilège de commencer une collaboration avec une immense claveciniste italienne, Paola Erdas, et de découvrir que Paola était une élève étoile de Kenneth Gilbert (au Mozarteum de Salzbourg)!
Elle a même enregistré des disques sur des instruments faisant partie de la collection de son professeur!
http://www.paolaerdas.it
Je viens donc de me décider à faire ce sketch “avant qu’il ne soit trop tard”, je voudrais le dédier à ma déesse du clavecin, Paola Erdas et ce, avec tout le respect et l’admiration dont je suis capable à l'égard du grand Kenneth Gilbert (je suis certain que Paola, ainsi que ses autres élèves, le "who’s who" de la musique ancienne et baroque aujourd'hui, auront une pensée émue pour lui)

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This music composed by François Couperin (https://tinyurl.com/yags3uyj) has a very special presence in my life.
Indeed, it has appeared faithfully and often usually shortly before important events took place (good, and not so good).
So much so that, doing this sketch, which required I listen to the music many many many times, was a bit like taking some serious risk!
The very first time I heard this music interpreted on a harpsichord was shortly after I arrived in Canada (1971). It was performed by Kenneth Gilbert (https://www.thecanadianencyclopedia.ca/en/article/kenneth-gilbert-emc/).
He immediately became one of my favourite musicians, his immense talent, his erudition and his humility have made me a faithful admirer of his, so much so that I still listen with great pleasure to his recordings, many years later
Imagine my surprise -no, my great joy- when, 37 year later, I began collaborating with the immense Italian harpsichordist Paola Erdas, discovering that she was a star student of Kenneth Gilbert (at the Mozarteum, in Salzburg)!
She even recorded CDs on instruments belonging to Kenneth Gilbert’s collection!
http://www.paolaerdas.it
I had to finally dive in this music, (time waits for no-one), and I would like to dedicate it to my goddess of the harpsichord, Paola Erdas, and to do so with immense admiration and respect for the great Kenneth Gilbert (I am sure that Paola and his many students, the who's who of early and baroque music these days, will have a loving thought for him)

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