George Malcolm - J.S.Bach: Harpsichord Recital (1961) [2011 Hi-Res]
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BAND/ARTIST: George Malcolm
- Title: J.S.Bach: Harpsichord Recital
- Year Of Release: 1961 [2011]
- Label: HDTT
- Genre: Classical
- Quality: FLAC (Tracks) | 24 Bit/192 kHz
- Total Time: 00:51:15
- Total Size: 1,9 GB (+3%rec.)
- WebSite: Album Preview
The esteemed English harpsichordist, pianist, conductor and teacher, George (John) Malcolm, rst studied the piano. He was taught for 18 months by a gifted nun in the kindergarten class
at the Notre Dame Convent in Clapham, and, deciding he had a special talent, she took him along to play to Hugh Allen at the Royal College of Music. He was accepted, and at the age of
seven studied piano with Kathleen McWhitty. There was no Junior department at the College in those days, and for several years he was the only child there. While attending a London day
school, he continued at the College and then, having completed his time at Oxford University, he returned to take up his studies with Herbert Fryer. After attending Balliol College, in Oxford
from 1934 to 1937, he completed his training at the Royal College of Music in London.
George Malcolm was on the threshold of his career as a professional pianist when the onset of war drastically changed the direction of his life. He was appointed an Royal Air Force
bandleader, which involved organising and conducting concerts all over the country. After World War II, he had hoped to resume his intended career. He liked the idea of owning an antique
instrument for his own pleasure at home, and he bought his rst harpsichord. The instrument was rare then, and very soon George and his harpsichord were in great demand for concerts.
His favourite instrument was to be built by Thomas Go, and was known for its marvellous dynamic qualities, which George used to exciting and dramatic eect, although his brilliant
harmonies and ornamentations have always annoyed purists.
George Malcolm had a distinguihed career as a harpsichord virtuoso, chamber music pianist, and conductor. While his concert career was being established, he was appointed director of
Music at Westminster Cathedral (1947-1959). He had a deep a nity with Catholic church music and had enjoyed a successful period of time as choir-master in a south London church. He
disliked the hooty sound so prevalent in choir-boys at that time, and was to achieve great success in producing the bright "continental" sound, which contrasts with that of Anglican choirs.
This sound so impressed Benjamin Britten that he wrote his Missa Brevis especially for the Westminster Cathedral Choir. Malcolm left the Cathedral to enable him to accept the ever
increasing demands on him for concert performances. He became conductor of the London Philomusica from 1962 to 1966, and associate conductor of the BBC Scottish Orchestra in
Glasgow from 1965 to 1967, as well as continuing to play the large 18th century keyboard repertoire. He was founding patron of Spode Music Week, an annual residential Music school that
places particular emphasis on the music of the Roman Catholic liturgy.In 1965 he was made Commander of the Order of the British Empire, and was ISM Distinguished Musician Award of
1996-1967.
George Malcolm was particularly associated with the Baroque revival. He was a pioneering harpsichordist, introducing many people to this instrument through his records and live
performances. Like Wanda Landowska, he favoured rather large harpsichords which now are seen as inauthentic for Baroque music, although the instruments he used were more authentic
than hers. However, while aspects of his performances may seem outdated, his in uence is gratefully acknowledged by a number of today's musicians, e.g. András Schi. He seems to have
left posterity no sound recordings as a pianist, but he made more impact as an organist, choir-trainer and conductor.
Tracks:
Johann Sebastian Bach
01. Chromatic Fantasia & Fugue In D Minor, BWV 903
02-04. Italian Concerto In F Major, BWV 971
05. Toccata In D Major, BWV 912
06. French Suite No. 5 In G Major, BWV 816
at the Notre Dame Convent in Clapham, and, deciding he had a special talent, she took him along to play to Hugh Allen at the Royal College of Music. He was accepted, and at the age of
seven studied piano with Kathleen McWhitty. There was no Junior department at the College in those days, and for several years he was the only child there. While attending a London day
school, he continued at the College and then, having completed his time at Oxford University, he returned to take up his studies with Herbert Fryer. After attending Balliol College, in Oxford
from 1934 to 1937, he completed his training at the Royal College of Music in London.
George Malcolm was on the threshold of his career as a professional pianist when the onset of war drastically changed the direction of his life. He was appointed an Royal Air Force
bandleader, which involved organising and conducting concerts all over the country. After World War II, he had hoped to resume his intended career. He liked the idea of owning an antique
instrument for his own pleasure at home, and he bought his rst harpsichord. The instrument was rare then, and very soon George and his harpsichord were in great demand for concerts.
His favourite instrument was to be built by Thomas Go, and was known for its marvellous dynamic qualities, which George used to exciting and dramatic eect, although his brilliant
harmonies and ornamentations have always annoyed purists.
George Malcolm had a distinguihed career as a harpsichord virtuoso, chamber music pianist, and conductor. While his concert career was being established, he was appointed director of
Music at Westminster Cathedral (1947-1959). He had a deep a nity with Catholic church music and had enjoyed a successful period of time as choir-master in a south London church. He
disliked the hooty sound so prevalent in choir-boys at that time, and was to achieve great success in producing the bright "continental" sound, which contrasts with that of Anglican choirs.
This sound so impressed Benjamin Britten that he wrote his Missa Brevis especially for the Westminster Cathedral Choir. Malcolm left the Cathedral to enable him to accept the ever
increasing demands on him for concert performances. He became conductor of the London Philomusica from 1962 to 1966, and associate conductor of the BBC Scottish Orchestra in
Glasgow from 1965 to 1967, as well as continuing to play the large 18th century keyboard repertoire. He was founding patron of Spode Music Week, an annual residential Music school that
places particular emphasis on the music of the Roman Catholic liturgy.In 1965 he was made Commander of the Order of the British Empire, and was ISM Distinguished Musician Award of
1996-1967.
George Malcolm was particularly associated with the Baroque revival. He was a pioneering harpsichordist, introducing many people to this instrument through his records and live
performances. Like Wanda Landowska, he favoured rather large harpsichords which now are seen as inauthentic for Baroque music, although the instruments he used were more authentic
than hers. However, while aspects of his performances may seem outdated, his in uence is gratefully acknowledged by a number of today's musicians, e.g. András Schi. He seems to have
left posterity no sound recordings as a pianist, but he made more impact as an organist, choir-trainer and conductor.
Tracks:
Johann Sebastian Bach
01. Chromatic Fantasia & Fugue In D Minor, BWV 903
02-04. Italian Concerto In F Major, BWV 971
05. Toccata In D Major, BWV 912
06. French Suite No. 5 In G Major, BWV 816
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