"I can't think anybody who represents the end of an era better than Orlando Gibbons does, and Gibbons is my favorite composer - always has been. [...] There is a spiritual attachment that I began to feel for his music when I was fourteen of fifteen and first heard some of the Anthems ; I fell in love with them, and consequently all my life I've wanted to make a Gibbons album of some kind."
Gould's admission that Orlando Gibbons was his "favorite composer" - an allegiance to which he admitted not only in his 1974 interview with Jonathan Cott but on other occasion too - has often been quoted as welcome proof of Gould's eccentricity. In fact, his concert repertory included only one work by the English virginalist, the "Lord of Salisbury" Pavan and Galliard, which he first played at a recital in Montreal on November 6, 1952 - scarcely enough to lend factual weight to his verbal enthusiasm, even if the piece also figured in his USA début programme in January 1955 and in the first part of Bruno Monsaingeon's television trilogy, Les Chemins de la musique, in 1974. Even the "Columbia" album, of which he had dreamed all his life and which was finally made between 1967 and 1971, ultimately contained only three works by Gibbons, while William Byrd - Gibbon's senior by forty years - contributed no fewer than five pieces to Gould's Consort of Musicke.
Was Gould being inconsistent ? Certainly not....
Michael Stegemann, translation 1993 Stewart Spencer, from the booklet
Consort of Musicke by
1 First Pavan and Galliard 7:11
2 Fantasy in C Major 3:35
3 Allemande (Italian Ground) 1:54
4 Hughe Ashton's Ground 9:52
5 Sixth Pavan and Galliard 5:15
6 "Lord of Salisbury" Pavan and Galliard 5:49
7 A Voluntary 3:29
8 Sellinger's Round 5:39
Jan Pieterszoon Sweelinck
9 Fantasia in D (Fantasia cromatica) 7:20
Recording at Columbia 30th Street Studio, New York City ; June 14 & 15, 1967 [# 1] ; July 30 & August 1, 1968 [# 2, 3 & 6] ; May 25 & 26, 1967 [# 5 & 7] ; & at Eaton's Auditorium, Toronto, Canada ; April 18, 1971 [# 4 & 8]