JOHANN SEBASTIAN BACH - ANTONIO VIVALDI Psalm 51 - Nisi Dominus
Damien Guillon, countertenor & direction
Céline Scheen, soprano
Le Banquet Céleste Baptiste Lopez, violin Caroline Bayet, violin Deirdre Dowling, viola Ageet Zweistra, cello Christian Staude, double bass Kevin Manent, harpsichord & organ Andre Henrich, lute
Total playing time: 56:17 Recorded in Saintes (Abbaye aux Dames), France, in October 2015 Engineered and produced by Aline Blondiau Executive producer: Carlos CésterEnglish – Français – Deutsch
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JOHANN SEBASTIAN BACH (1685-1759)
Psalm 51: Tilge, Höchster, meine Sünden, BWV 1083after the Stabat Mater by Giovanni Battista Pergolesi (1710-1736) for soprano, alto, strings and continuo
01 Tilge, Höchster, meine Sünden: Largo 02 Ist mein Herz in Missetaten: Andante 03 Missetaten, die mich drücken: Larghetto 04 Dich erzürnt mein Tun und Lassen: Andante 05 Wer wird seine Schuld verneinen: Largo 06 Sieh, ich bin in Sünd empfangen 07 Sieh, du willst die Wahrheit haben 08 Wasche mich doch rein: Andantino 09 Lass mich Freud und Wonne spüren: Alla breve 10 Schaue nicht auf meine Sünden: Andante 11 Öffne Lippen, Mund und Seele: Adagio spirituoso 12 Denn du willst kein Opfer haben: Largo 13 Lass dein Zion blühend dauern: Allegro14 Amen: Alla breve
ANTONIO VIVALDI (1678-1741)
Nisi Dominus, RV 608for alto, strings and continuo
15 Nisi Dominus: Allegro 16 Vanum est vobis: Largo 17 Surgite postquam sederitis: Presto 18 Cum dederit dilectis suis somnum: Largo 19 Sicut saggitae in manu potentis: Allegro 20 Beatus vir qui implevit: Andante 21 Gloria Patri: Larghetto 22 Sicut erat in principio: Allegro 23 Amen: Allegro
About this CD
Damien Guillon, who has been proving himself to be a much-admired interpreter of the more spiritual side of Baroque music, now makes his debut on Glossa both as countertenor soloist and director for a fascinating pairing of Bach and Vivaldi psalm settings: Tilge, Höchster, meine Sünden, BWV 1083 and Nisi Dominus, RV 608. Guillon directs his ensemble Le Banquet Céleste (with which he recently made his stage conducting debut in Avignon with Acis and Galatea).
Whilst he was Konzertmeister in Weimar JS Bach was entrusted by his employer with transcribing scores by Vivaldi brought back from Amsterdam, and a fascination ensued with the Venetian composer’s style, especially with that of his concertos. As is pointed out by Stefano Russomanno in his booklet essay for this new recording Vivaldi will have employed the concerto logic also in his sacred vocal works, such as the early Nisi Dominus (Psalm 126) recorded here. It was however a Neapolitan composer from the next generation along in GB Pergolesi, whose music Bach turned to as the basis for a setting of Psalm 51, Tilge, Höchster, meine Sünden. The result was a magisterially rendered reworking – in parody form – of Pergolesi’s theatrical (and catholic) Stabat Mater, adjusted by Bach to accommodate the different demands of the German Protestant text.
The warmth of Guillon’s countertenor finds an ideal match in the soprano Céline Scheen, another fabulous singer of Baroque music, whose vocal agility and purity has been entrancing audiences across Europe in recent years.