Product details
1.Komm, Komm, mein Herze steht dir offen
Excerpt from the St. John Passion, BWV 245
BWV 565
Excerpt from cantata BWV 21
From cantata BWV 1
Excerpt from the St. Matthew Passion, BWV 244
From cantata BWV 30
Excerpt from cantata BWV 199
BWV 543
Excerpt from the St. Matthew Passion, BWV 244
From theChristmas Oratorio, BWV 248
From cantata BWV 179
Total time : 66'35 "
Recorded at Javols church (Lozère, France), from 11 to 14th September 2012.
Artistic direction: Maurice Bourbon, Jean-Marc Laisné
Recording, Editing and mastering : Jean-Marc Laisné
Graphic conception : marc-guerra.com
Pictures : Nima Yeganefar
Rights reserved for all pictures.
Producer : L'homme armé éditions
La Chapelle des Flandres
Distribution : Codaex
Translation : Marcia Hadjimarkos
AR RE-SE 2014-3
Bach...
The composer Johann Sebastian Bach, who was also a virtuoso instrumentalist (harpsichord, organ, violin), complained all his life about bad instruments and poor performers, and was always on the lookout for talent. He asked the tenor of the choir to replace the failing first violin, but then he ran out of tenors.
At the age of eighteen, we see him taking out his sword in the street to defend himself from an execrable bassoonist whom he had called an "old goat" at rehearsal, and who was waiting for him in the street with a stick... Three years before his death, when he was received by Frederick II, he rushed to Silbermann's pianoforte, conquered by their possibilities, on which he improvised magnificent fugues on themes that were given to him at the time, and which would give birth to the Musical Offering. It is therefore easy to imagine Bach discovering the accordion and its immense possibilities: its flexible and limitless dynamics, in direct contact with the bellows, capable of reproducing all the dynamics and the slightest phrasing, like a human voice, its registers, comparable to those of the organ, the virtuosity it allows, with its sophisticated palette of buttons, and its extreme manoeuvrability, that of a portable organ. Of course, he would also have foreseen its limitations, induced by an equal right/left hand dynamic, but would have guessed that this could be compensated by the skill of the performer. The sanguine Bach would therefore perhaps have pushed Bogdan Nesterenko a little to take his place and try out this incredible new instrument. But in spite of his prodigious gifts, he would probably have quickly returned it to its owner, after having noticed the extreme difficulty and specificity of the practice! The fortunate chance of life brought me into contact with Juliette de Massy, whose first steps as a soprano I had the privilege of guiding, and the accordionist Bogdan Nesterenko.
So it was only natural that the idea came to me to bring together these two unique young talents in the ambitious project Comme un air de passions...
Maurice Bourbon
The press is talking about it!
"With Johann Sebastian Bach, they knit a beautiful garment for our winter, a fantasy conceived in rigour and pleasure - a studio record as one would say of a dress. A delight..."
Mediapart blog
January 2015, Frederick Casadesus
"Bach on the accordion, why not?"
Edith Weber
Newsletter nb. 89 (february 2015) from L'ÉDUCATION MUSICALE (Paris, Beauchesne)
"Juliette de Massy's clear voice soars lightly in the vocals of these cantatas, while the rich and expressive harmonic support is developed by Bogdan Nesterenko's accordion. The latter is a virtuoso of the concert instrument, with very extensive possibilities, and he manages to match the organ in all its richness of timbre. Jean-Marc Laisné's sound recording judiciously uses the natural reverberation of a small church to embellish the singing.
HIFI AND VIDEO MAGAZINE, 17/02/2015
"Paradise exists. Listening to this record, you will be transported there..."