Damien Guillon

Le Banquet Céleste & Damien Guillon – Stradella: San Giovanni Battista (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:20:40 minutes | 1,56 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics

A composer who led a dissolute life and ended up stabbed to death in Genoa, Stradella nevertheless left a distinctive stamp on the history of music. He is situated at the intersection of several stylistic paths and periods, at the crossroads between opera and sacred drama, since his output, and especially San Giovanni Battista, marks the encounter of the great Roman oratorio inherited from Carissimi with the Venetian opera of Cavalli. Stradella is also close to the next generation, that of Scarlatti and Handel. His music is characterised by liveliness, expressiveness and profound humanity. Although San Giovanni Battista enjoyed genuine success when it was premiered in 1675, it was only in 1949 that the work was exhumed from the libraries where its score lay slumbering. That event took place in Perugia, and the role of Salome was sung by Maria Callas.

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Le Banquet Céleste & Damien Guillon – Caldara: Maddalena ai piedi di Christo (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 02:05:29 minutes | 2,29 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics

There is no shortage of parallels to be drawn between Caldara and Vivaldi: both Venetians, both boasting an impressive body of work running to several hundred pieces of all genres, both died in Vienna (in the same street and in the same penury!), although Caldara had written more operas and oratorios than the Red Priest. And here is one of these very 32 known oratorios, Maddalena ai piedi di Christo written in Venice around 1698; it is “oratorio volgare”, that is, recited in Italian, rather than Latin. Originally written as an accompaniment to spiritual exercises, the oratorio came to replace profane operas when the theatres were closed, especially from November to Lent. It took on the guise of opera, and used many of its techniques: naves and altars were (re)decorated and mechanisms and costumes were employed. In reality, it was nothing but an opera with a religious theme… The words and the plot of Maddalena ai piedi di Christo are perfectly suited to these months of penitence. It is a drama of the moral breakdown that tortures the sinner who has to choose between worldly and heavenly love, between living a life of luxury and truly promising herself to Christ. The Le Banquet Céleste ensemble, led by Damien Guillon (who also sings the alto part of Divine Love), takes to this rare piece with fervour.

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Le Banquet Céleste & Damien Guillon – Bach: Cantatas, BWV 170 & 35 (Alpha Collection) (2018)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:13:05 minutes | 1,24 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics

Throughout his life, Bach showed exceptional talent as a pedagogue. As an orphan who had been obliged to learn everything by himself, he retained the deep-rooted urge to teach and pass on his knowledge. His cantatas are spiritual lessons, just as his keyboard works constitute a tutor in the instrument. It was with his children, first and foremost, that he exercised this talent as a born teacher, and particularly with his prodigiously gifted eldest son, Wilhelm Friedemann. For him he wrote the Two-part Inventions and Three-part Sinfonias; for him too The Well-Tempered Clavier and the Orgel-Buchlein (Little organ book); and this extraordinary method culminated in the Trio Sonatas for organ. The cantata Geist und Seele wird verwirret (Spirit and soul are dumbfounded) BWV 35 is one of the three written for solo alto without choral participation and with reduced instrumental forces. The work comprises two parts, for performance before and after the sermon. Soloist and organ engage in a dialogue charged with the elation of trust in God, brimming with coloratura passages and runs. Also for alto solo, the cantata Vergnugte Ruh, beliebte Seelenlust (Contented repose, beloved heart’s desire) BWV 170 dates from just six weeks before Geist und Seele. It too features a solo organ part, later transcribed by Bach for flute and continuo. The cantata is based on a passage from the Sermon on the Mount in which Christ urges his listeners to live in peace with others.

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Damien Guillon, Le Banquet Céleste – Purcell: Odes & Welcome Songs (2022)
FLAC (tracks) 24 bit/192 kHz | Time – 01:03:21 minutes | 2,23 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Alpha Classics

There are 24 Odes and Welcome Songs composed by Purcell between 1680 and 1695: 4 celebrate St Cecilia, 6 are to welcome royalty, 3 celebrate King James II’s birthday and 6 celebrate that of Queen Mary (from 1684 to 1694). The others were written for specific events – royal wedding, Yorkshire festival, Duke of Gloucester’s birthday, hundredth anniversary of Dublin’s Trinity College, etc. For these occasions, Purcell composed incredibly imaginative music of amazing quality – often keeping his most beautiful pieces for less remarkable texts, most of the time conventionally obsequious when it came to royalty. According to the registers, the number of singers and musicians were surprisingly small during special events. Purcell’s most elaborate Odes (namely Come Ye sons of Art and Hail! bright Cecilia) seem to have been designed for about twelve instruments and four singers, for solos and choruses. The Banquet Céleste chose a chamber music-like spirit for these extremely expressive and musical works.
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Le Banquet Celeste, Damien Guillon – Johann Sebastian Bach : Cantates BWV 170 & BWV 35 (2012)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:13:05 minutes | 1,25 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Zig-Zag Territoires , Outhere Music

It would be hard to conceive of more annoying graphic design that proffered on this release from the Zig Zag Territoires label, identified with a big “ZZT” (no, that’s not an electric shock warning). There, however, the list of complaints pretty much ends. This little program of solo cantatas and organ works by countertenor Damien Guillon and his historical instrument group Le Banquet Céleste was beautifully recorded in a small Strasbourg church and it’s an intimate gem. Front and center is Guillon’s singing, which is sweet, nicely rounded in the high tones, and couched in an attitude of relaxed calm. Organist Maude Gratton offers a trio sonata and a sparkling rendition of the Fantasy and Fugue in G minor, BWV 542, which ends the program on a unique rousing note. The instrumentalists have a sensuous sound and are so well coordinated with Guillon that they seem like extensions of his singing. With the emphasis in recordings of Bach cantatas having long been on the grand conceptions of the charismatic figures who have undertaken complete Bach cycles, a small, unified, and beautifully executed recording like this one comes as a breath of fresh air, and it represents the French way with Bach at its best.
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