Bach: Cantatas BWV 169 & 82 Le Banquet Céleste, Damien Guillon & Maude Gratton

• Johann Sebastian Bach (1685 - 1750): Cantata "Ich habe genug", BWV 82:
• 1 Cantata "Ich habe genug", BWV 82: I. Aria "Ich habe genug" 07:02
• 2 Cantata "Ich habe genug", BWV 82: Recitative "Ich habe genug" 01:11
• 3 Cantata "Ich habe genug", BWV 82: Aria "Schlummert ein, ihr matten Augen" 10:49
• 4 Cantata "Ich habe genug", BWV 82: Recitative "Mein Gott! wenn kömmt das schöne: Nun!" 00:47
• 5 Cantata "Ich habe genug", BWV 82: Aria "Ich freue mich auf meinen Tod" 03:30
• Chorale prelude "Allein Gott in der Höh sei Ehr":
• 6 Chorale prelude "Allein Gott in der Höh sei Ehr", BWV 662 07:21
• 7 Chorale prelude "Allein Gott in der Höh sei Ehr", BWV 663 05:44
• 8 Chorale prelude "Allein Gott in der Höh sei Ehr", BWV 664 04:51
• Cantata "Gott soll allein mein Herze haben", BWV 169:
• 9 Cantata "Gott soll allein mein Herze haben", BWV 169: I. Sinfonia 07:40
• 10 Cantata "Gott soll allein mein Herze haben", BWV 169: II. Arioso & Recitativo "Gott soll allein mein Herze haben" 02:20
• 11 Cantata "Gott soll allein mein Herze haben", BWV 169: III. Aria "Gott soll allein mein Herze haben" 06:33
• 12 Cantata "Gott soll allein mein Herze haben", BWV 169: IV. Recitative "Was ist die Liebe Gottes" 00:50
• 13 Cantata "Gott soll allein mein Herze haben", BWV 169: V. Aria "Stirb in mir, Welt, und alle deine Liebe" 04:50
• 14 Cantata "Gott soll allein mein Herze haben", BWV 169: VI. Recitative "Doch meint es auch dabei" 00:32
• 15 Cantata "Gott soll allein mein Herze haben", BWV 169: VII. Chorale "Du süße Liebe, schenk uns deine Gunst" 01:06
• Prelude & Fugue in A Minor, BWV 543:
• 16 Prelude & Fugue in A Minor, BWV 543: Prelude 03:04
• 17 Prelude & Fugue in A Minor, BWV 543: Fugue 05:56
• Total Runtime 01:14:06

Info zu Bach: Cantatas BWV 169 & 82

Following his recording of J.S. Bach’s solo cantatas for alto BWV 35 and 170 (issued by Outhere in 2009), and building on the success of that disc – still a benchmark even today – countertenor Damien Guillon has continued his work of research and interpretation, devoting his second CD to the Cantata BWV 169 for alto solo, and to the famous BWV 82 Ich habe genug; though better known in its 1727 version for bass, from 1735 onwards it was also performed by an alto voice.

To complement this cantata programme, organist Maude Gratton performs Bach’s Prelude and Fugue BWV 543, as well as the chorales Allein Gott in der Höh sei Ehr, BWV 662, BWV 663 & BWV 664.

Celine Scheen, soprano
Nicholas Scott, tenor
Benoit Arnould, baritone
Le Banquet Celeste
Damien Guillon, countertenor, direction

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 including Harpsichord and organ, and quickly sings as solo soprano in many baroque oratorios as well as Opera master pieces. Then, 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 and later with Andreas Scholl at the Schola Cantorum Basiliensis.

Currently, his vocal and musical qualities earned him invitations to perform with conductors as famous as William Christie, Vincent Dumestre, Emmanuelle Haïm, Pierre Hantaï, Philippe Herreweghe, Bernard Labadie, Paul McCreesh, Jean-Claude Malgoire, Hervé Niquet, Philippe Pierlot , Hans Christophe Rademann, François Xavier Roth, Christophe Rousset, Jordi Savall and Masaaki Suzuki.

His repertoire ranges from songs of the English Renaissance to Baroque oratorios Bach (Saint John Passion, Saint Matthew Passion, Mass in B minor, Lutherian masses …), Handel’s Messiah or Dixit Dominus and also operas by Monteverdi (L’Incoronazione di Poppea, Ritrono d’Ulisse in Patria), Händel Teseo, Rinaldo, Athalia, Giulio Cesare), Purcell (King Arthur and Dido and Aeneas) and Landi’s Il Sant’Alessio with William Christie. In demand for his concert work, he performs Weinachts-oratorium with Philippe Herreweghe and Collegium Vocale Gent (Lincoln Center in New York, Palau de la Musica in Barcelone, Baden-Baden Festival etc…) and also with prestigious Amsterdam’s Concertgebouw Orchestra; a European tour of Bach’s Saint Matthew Passion with Raphaël Pichon and Ensemble Pygmalion, Bach’s Cantatas with Nederlandse Bach Society; Bach’s Alto solo cantatas and Vivaldi’s Motets with Café Zimmerman; with Bernard Labadie Vivaldi’s Selva Regina with the New World Symphony in Miami etc.

Damien Guillon is now frequently invited as a conductor: he conducted Caldara’s Maddalena ai piedi di Cristo with Les Musiciens du Paradis, Bach’s Magnificat with the Café Zimmermann and the Chamber Choir of Rouen, Bach’s Cantatas with the Collegium Vocale Gent in Saintes Festival etc.

In 2009, Damien Guillon founded Le Banquet Céleste to promote an exacting work on the baroque repertoire, with a regular team of singers and instrumentalists who were all specially trained in the styles approached by the ensemble. Among other projects, we note a programme of Christmas cantatas by J.S. Bach, Lamentations and Respons by J.D. Zelenka, and further to the success Bach Alto solo Cantatas’s recording, he began a productive collaboration with Glossa with Bach’s Psalm 51 and Vivaldi’s Nisi Dominus. 2015 was his first appearance on an orchestra pit conducting Le Banquet Céleste on a new scenic production of Haendel’s Acis and Galatea, staged by Anne Laure Liégeois.

Recent and future engagements included Cyrus in Handel’s Belshazzar with Ottavio Dantone and Accademia Bizantina, Bach’s B minor Mass and Saint Matthew Passion with Mazaaski Suzuki and Bach Collegium Japan, a European tour of Saint Matthew Passion and St John Passion conducted by Philippe Herreweghe with Collegium Vocale Gent and also with the prestigious Concertgebouw Amsterdam Orchestra, Gewandhaus Leipzig or Staatskapelle Dresden in 2018, Bach’s Easter Oratrio with Holland Bach Society, Dixit Dominus and Bach’s Magnificat with Emmanuelle Haïm and Le Concert d’Astrée etc.

Le Banquet Celeste
Founded in 2009, the ensemble promotes an exacting work on the baroque repertoire, with a regular team of singers and instrumentalists who were all specially trained in the styles approached by the ensemble.

On the eve of its 10th anniversary season, Le Banquet Céleste has won over many prestigious concert halls and festivals: Salle Gaveau (Paris), Rennes and Avignon Opera, Festival d’Arques-la-Bataille, Les Arts renaissants (Toulouse), Festival for Ancient Music (Froville), Saint-Michel en Thiérache, Festival de Sablé, Festival de Saintes, Festival de Beaune, Festival d’Ambronay, Festival de La Chaise Dieu… The ensemble was also invited in China (Beijing and Wuhan), Belgium (Concertgebouw Brugge and Bijloke Gand), Italy (Jesi Pergolesi Spontini Festival), and Germany at the Klangvokal Festival in Dortmund.

The first recording of the ensemble, devoted to Bach’s cantatas BWV 170 and 35 for alto and organo obligato, was released by Zig-Zag Territoires in 2012. It garnered stellar reviews in the specialized press (fff by Télérama, 4/5 Diapason Magazine, **** by Classica). In 2016, has been released by Glossa “Bach and Italy” with Celine Scheen including Vivaldi’s Nisi Dominus and Bach Psaulm 51 (Télérama ffff) and “Affetti amorosi” dedicated to G. Frescobaldi Arie Musicali as been released in February 2018 (5/5 Diapason Magazine).

Among other recent and upcoming projects: Christmas cantatas by J.S. Bach and Johannes-Passion with children choir, A. Stradella’s San Giovanni Battista (staging by Vincent Tavernier), G-F Haendel’s Acis and Galatea (staging by Anne-Laure Liégeois), Maddalena ai piedi di Cristo by A. Caldara and H. Pucell’s Odes and Welcome songs with choir.

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