NewCoMer oF the Year - Allegro Music
NewCoMer oF the Year - Allegro Music
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.