Texte paru dans: / Appeared in:
Outil de traduction ~ (Très approximatif)
The German text is in the same
meter and rhyme scheme as the Latin Stabat Mater. Pergolesi’s valedictory
masterpiece was written in 1736. By the 1740s manuscript copies of it were
circulating in northern Europe. Bach’s adaptation probably dates from 1745
to 1747, but the occasion for it is not known. The work was only discovered
in 1946. Bach’s adaptation remains very close to the original in most
respects. He modifies the string writing mainly by giving the viola a more
independent part, where in Pergolesi that instrument tends mostly to double
In general, the recorded sound
is warm and clear. The recording was made at the Abbaye aux Dames in Saintes,
France. There is a rich reverberation that is most evident at the ends of
movements. The gentle lingering of the sound makes the upward-resolving
appoggiaturas in the 11th movement (‘Offne Lippen’) exceptionally poignant.
The sound does not seem uncomfortably close, but in the extended
introduction to the first movement the rhythmic sniffing of the string
players is quietly audible.
Antonio Vivaldi’s Nisi Dominus (R 608), a setting of Vulgate Psalm 126 for alto solo, strings, and continuo, probably for Vespers, comes early in his output, most likely intended for one of the more vocally gifted young ladies at the Ospedale della Pieta in Venice. Program annotator Stefano Russomanno points out that the setting seems to be suffused with the character of an instrumental concerto. Sometimes the voice part suggests virtuoso violin writing, and Guillon handles the vocal acrobatics impressively. There is some delicious word painting, as in III, where upward rushing scales accompany the word “surgite” (rise up), and the music suddenly turns slower and more sustained at the word “sederitis” (take rest). The doxology is unusually expansive: spread over three movements, with the first of the three taking nearly five minutes. Damien Guillon is one of the top countertenors currently active, with an impressive record of concert and operatic performances as well as recordings. He has worked withmany of today’s leading exponents of early music. He founded the instrumental ensemble Le Banquet Céleste in 2009, and his reputation as a music director continues to grow.