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NewCoMer oF the Year - Allegro Music

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passacaille<br />

Jan Dismas ZeLenkA & J.s. bACH<br />

lamentationes<br />

Cat # PAS 977<br />

Price Code: R (SRP $17.99)<br />

Number of Discs: 1<br />

Digipak, Box Lot 25<br />

D U.s. ORDeRs OnLY<br />

J.s. bACH<br />

french suites i–iii<br />

Cat # PAS 984<br />

Price Code: R (SRP $17.99)<br />

Number of Discs: 1<br />

Digipak, Box Lot 30<br />

D U.s. ORDeRs OnLY<br />

38<br />

release date: July 10, 2012<br />

Damien Guillon: countertenor<br />

Marcus Ullman: tenor<br />

Lieven Termont: baritone<br />

Il Gardellino<br />

Marcel Ponseele: director<br />

ZELENKA: Lamentationes I & II • J.S. BACH: Cantata “Schauet doch<br />

und sehet, ob irgendein Schmerz sei” BWV 46 • “Herr, deine Augen<br />

sehen nach dem Glauben!” BWV 102<br />

The two Bach cantatas presented here were written three years apart<br />

(1723 and 1726) for <strong>the</strong> same Sunday of <strong>the</strong> liturgical year, <strong>the</strong> tenth<br />

Sunday after Trinity. The Gospel for <strong>the</strong> day reports Jesus weeping<br />

over Jerusalem, and announcing its destruction. Marcel Ponseele<br />

thought it was very interesting to juxtapose <strong>the</strong>se cantatas against two<br />

lamentations composed by Zelenka in 1722. In a span of four years,<br />

geographically closely connected, we have three musical settings of <strong>the</strong><br />

same subjects. One lamentation is for baritone solo and <strong>the</strong> o<strong>the</strong>r for<br />

alto voice, performed on this recording by <strong>the</strong> French countertenor<br />

Damien Guillon.<br />

Lorenzo Ghielmi: harpsichord<br />

J.S. BACH: French Suites Nos. 1–3, BWV 812–814 • Italian Concerto,<br />

BWV 971 • Aria Variata in A minor, BWV 989 “In <strong>the</strong> Italian Style”<br />

Until recently, Lorenzo Ghielmi has made solo recordings with<br />

Passacaille mainly as an organist. However, as a performer he is<br />

continuing <strong>the</strong> tradition of <strong>the</strong> 18 th century, where musicians were<br />

masters on all keyboard instruments that were available. This new<br />

recording presents him as a harpsichord player. Two instruments were<br />

used for this recording: for <strong>the</strong> French Suites a harpsichord by Keith<br />

Hill inspired by an anonymous 18 th century German harpsichord,<br />

and for <strong>the</strong> pages reflecting <strong>the</strong> Italian influence, a harpsichord by<br />

Andrea Restelli inspired by <strong>the</strong> Christian Vater harpsichord held in <strong>the</strong><br />

Nuremberg Museum.

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