Colin Tilney, who passed away at 91, was a distinguished performer on historical keyboard instruments. His career flourished during the early music revival in Britain during the 1960s and later in Canada, where he became a prominent figure in historically informed performance practice. Tilney's performances were marked by stylistic sensitivity and meticulous attention to detail, ensuring that each instrument matched the music it played. He is renowned for his mastery of Elizabethan composers, Italian and German Baroque music, as well as Domenico Scarlatti, Bach, and Handel. With over 70 recordings to his name, Tilney covered an extensive repertoire of harpsichord music. His interest in contemporary music led him to commission and perform new works in both Britain and Canada.

A Master of Historical Instruments and Repertoire

Tilney's journey into historical keyboard instruments began with a gift of an Irish harpsichord for his 21st birthday. This sparked a lifelong dedication to seeking out original or replica instruments such as harpsichords, clavichords, fortepianos, chamber organs, and virginals. His deep understanding of these instruments allowed him to explore the connection between different periods and geographical areas of music and the instruments that brought them to life. Tilney was particularly devoted to a replica of a 1745 Flemish harpsichord by Johannes Dulcken, which he took with him when he moved to Canada in 1979.

Tilney's performances were characterized by exceptional refinement, poetic sensibility, and a keen sense of rhythm. His recordings, even those made in his 80s, received high praise for their crisp ornaments and stylish embellishments. Critics noted his ability to make the quills on his meticulously engineered harpsichord sing. Tilney's approach to phrasing and articulation, along with his attention to original notation and instrumentation, exemplified his mastery of agogic accents—extending the duration of notes—and nuances in performance. His recording of Bach's English Suites, for instance, showcased a blend of cerebral and rhythmic dynamism, influenced by his studies with Gustav Leonhardt.

An Advocate for Contemporary Music and Education

Beyond his work with historical music, Tilney maintained a strong interest in contemporary compositions. He premiered Hans Werner Henze's Lucy Escott Variations in London and commissioned works from Elisabeth Lutyens and Priaulx Rainier. Tilney's move to Canada in 1979 marked a new chapter in his career, where he continued to teach privately and at prestigious institutions like the Royal Conservatory of Music and the University of Toronto. He also worked as an accompanist for the Canadian Opera Company and collaborated with ensembles such as the Tafelmusik Baroque Orchestra and Toronto Consort, bringing both performing skills and historical expertise to international tours.

In 1985, Tilney formed the chamber ensemble Les Coucous Bénévoles, initially to celebrate the tercentenary of Bach, Handel, and Scarlatti. The ensemble later expanded its focus to include collaborations with contemporary Canadian composers, working closely with flautist Elissa Poole. Tilney's contributions extended beyond performance; he authored editions of harpsichord music and published a three-volume work on the Art of the Unmeasured Prelude, documenting preludes by Louis Couperin, Nicolas Lebègue, and others. His legacy lives on through his recordings, publications, and the students he inspired during his long and illustrious career.