Affetti amorosi - Arie musicali. Firenze, 1630 Damien Guillon

• Girolamo Alessandro Frescobaldi (1743 - 1805): Arie musicali, Book 2, F 7:
• 1 Arie musicali, Book 2, F 7: No. 3, Oscure selve 02:25
• 2 Arie musicali, Book 1, F 7: No. 22, Corilla danzando 00:59
• 3 Arie musicali, Book 1, F 7: No. 21, Eri già tutta mia 03:36
• Toccate e partite d'intavolatura, Book 1, F 2:
• 4 Toccate e partite d'intavolatura, Book 1, F 2: No. 32, Balletto e ciaccona 01:10
• Arie musicali, Book 1, F 7:
• 5 Arie musicali, Book 1, F 7: No. 15, Se l'aura spira 01:15
• 6 Arie musicali, Book 1, F 7: No. 7, Dunque dovrò 03:08
• 7 Arie musicali, Book 1, F 7: No. 11, Troppo sotto due stele 03:46
• 8 Arie musicali, Book 2, F 7: No. 20, Oh dolore 03:52
• Toccata per spinettina sola over liuto, F 8.51:
• 9 Toccata per spinettina sola over liuto, F 8.51 02:18
• Arie musicali, Book 2, F 7:
• 10 Arie musicali, Book 2, F 7: No. 1, Vanne o carta amorosa 03:16
• 11 Arie musicali, Book 1, F 7: No. 3, Ardo, e taccio il mio mal 04:22
• 12 Arie musicali, Book 1, F 7: No. 23, Con dolcezza, e pietate 01:16
• 13 Arie musicali, Book 1, F 7: No. 12, Non mi negate ohimè 02:06
• 14 Arie musicali, Book 1, F 7: No. 20, Dove ne vai pensiero 01:31
• 15 Arie musicali, Book 1, F 7: No. 7, Voi partite mio sole 02:16
• 16 Arie musicali, Book 2, F 7: No. 12, Non vi partite 02:03
• 17 Arie musicali, Book 2, F 7: No. 19, Doloroso mio core 02:47
• Toccate e partite d'intavolatura, Book 2, F 3:
• 18 Toccate e partite d'intavolatura, Book 2, F 3: No. 29, Gagliarda terza 01:40
• Arie musicali, Book 2, F 7:
• 19 Arie musicali, Book 2, F 7: No. 13, Gioite oh selve 03:14
• 20 Arie musicali, Book 1, F 7: No. 16, Così mi disprezzate 03:09
• Toccate e partite d'intavolatura, Book 2, F 3:
• 21 Toccate e partite d'intavolatura, Book 2, F 3: No. 28, Passacagli 02:16
• Arie musicali, Book 2, F 7:
• 22 Arie musicali, Book 2, F 7: No. 4, Ohimè che fur 02:41
• 23 Arie musicali, Book 1, F 7: No. 6, Maddalena alla croce 02:45
• Toccate e partite d'intavolatura, Book 2, F 3:
• 24 Toccate e partite d'intavolatura, Book 2, F 3: No. 12, Ancidetemi pur 06:52
• Arie musicali, Book 2, F 7:
• 25 Arie musicali, Book 2, F 7: No. 6, Ti lascio anima mia 04:14
• Total Runtime 01:08:57

Info zu Affetti amorosi - Arie musicali. Firenze, 1630

Auf seinem neuen Album Affetti amorosi stellt Damien Guillon eine eindrucksvolle Auswahl aus den Vokalwerken Girolamo Frescobaldis vor. Diese stammen aus zwei Bänden mit Arie musicali, die zwischen 1615 und 1630 entstanden sind. Zu dieser Zeit lebte Frescobaldi bereits in Rom und hatte beinahe Kultstatus erlangt, sodass er sich bei der Aufführung seiner Werke große expressive Freiheiten erlauben konnte.

Die Aufnahme bietet eine durchdachte Mischung voller Kontraste, in denen die menschliche und die göttliche Liebe besungen werden. Die weiteren Vokalisten des Ensembles Le Banquet Céleste – die Sopranistin Céline Scheen, der Tenor Thomas Hobbs und der Bassist Benoît Arnould – stehen Guillon in Nichts nach. Auf diesem Frescobaldi-Album sind auch zwei unvergängliche und anrührende geistliche Sonettvertonungen enthalten: Maddalena alla croce und Ohimè che fur. Mit Vanne, o carta amorosa wird eine der beliebtesten Formen des noch jungen Barockzeitalters vorgestellt, nämlich der musikalische Liebesbrief (lettera amorosa).

Die Sänger werden instrumental von Guillons Ensemble begleitet; zu hören sind Laute, Harfe, Violoncello und Cembalo. In seinem umfassenden und tiefschürfenden Booklettext erläutert Pierre Élie Mamou die Besonderheiten dieser frühbarocken Musik, einschließlich jenes »Spiels der Gegensätze, die unsere Seele in hohem Maße bewegen«, insbesondere die Polarität zwischen Kummer und Wonne und zwischen der flüchtigen und der verharrenden Zeit.

Céline Scheen, Sopran
Damien Guillon, Countertenor
Thomas Hobbs, Tenor
Benoît Arnould, Bass
Le Banquet Céleste
Damien Guillon, Leitung

Damien Guillon
begins his musical knowledge in 1989 at the Maîtrise de Bretagne supervised by Jean-Michel Noël. He receives a full music education from his youngest age and quickly sings as solo soprano in many baroque oratorios as well as at the Rennes Opera in The Magic Flute by Mozart.

From 1998 till 2001, he is a member of the Maîtrise du Centre de Musique Baroque de Versailles directed by Olivier Schneebeli, where he improves his vocal technique and deepens his research about early music interpretations with Howard Crook, Jérome Corréas, Alain Buet, Noëlle Barker. In 2004, he is admitted at the Schola Cantorum Basiliensis to receive the teaching of Andreas Scholl. At the same time, he studies organ with Frédéric Desenclos and Véronique Le Guen and graduated in Boulogne-Billancourt Conservatory (continuo and harpsichord).

Currently, his vocal and musical qualities earned him invitations to perform with conductors as famous as Masaaki Suzuki, Vincent Dumestre, Hervé Niquet, Philippe Pierlot, Pierre Hantaï, Jean-Claude Malgoire, Christophe Rousset, Philippe Herreweghe and William Christie. His repertoire ranges from songs of the English Renaissance to Baroque oratorios and operas by Monteverdi (L’Incoronazione di Poppea), Bach (Saint John Passion, Saint Matthew Passion, Mass in B minor, Lutherian masses, Christmas Oratorio and cantatas for solo alto), Händel (The Messiah), Purcell (King Arthur and Dido and Aeneas) etc... He performed in several staged productions such as Händel’s Athalie (Paul McCreesh in Ambronay), Teseo (Gilbert Bezzina, Nice Opera) and Giulio Cesare (François-Xavier Roth, Yannis Kokkos, Théâtre de Caen), Monteverdi’s Il Ritorno d’Ulisse in Patria (Philippe Pierlot, Théâtre de La Monnaie, Brussels) or, recently, Landi’s Il Sant' Alessio (William Christie and Les Arts Florissants).

Damien Guillon is now frequently invited as a conductor: he conducted Caldara’s Maddalena ai piedi di Christo with Les Musicians du Paradis, Bach’s Magnificat with the Café Zimmermann and the Chamber Choir of Rouen at the Arques-la-Bataille Festival and Bach’s cantatas with the Collegium Vocale Gent in Saintes.

Recent engagements include his debut concert at the Edinburgh festival (Eustazio in Händel’s Rinaldo conducted by Maasaki Suzuki), a tour with Hervé Niquet and Le Concert Spirituel in Vivaldi’s Gloria and Nisi Dominus (Théâtre des Champs-Elysées in Paris, Opéra de Montpellier etc...) and the role of Arcane in Händel’s Teseo with Les Folies Françoises and Patrick Cohën-Akenine (Théâtre d’Orléans, Théâtre des Champs-Elysées).

This season, he will sing the alto solo part in Bach’s Saint Matthew Passion with Philippe Herreweghe and the Collegium Vocale Gent (Lincoln Center in New York, Palau de la Musica in Barcelone, Concertgebouw in Amsterdam, Baden-Baden Festival etc...) and Saint John Passion with Bernard Labadie and Les Violons du Roy (Palais Montcalm in Québec and Carnegie Hall in New York).

Booklet für Affetti amorosi - Arie musicali. Firenze, 1630