Inspired by Bach : Sabine Devieilhe
"Intet nytt under solen", Bach er og har vært inspirasjonskilde for svært mange skapende mennesker - uavhengig av kunstform og sjanger. Albert Schweitzer mente alt fører til Bach, i forståelsen at Bach var et vendepunkt som alt pekte frem mot før, og alt i ettertid pekte tilbake til.
Mye kunne vært skrevet og sagt om sangeren Sabine Devieilhe, men en lysende Bach-fortolker er en av hennes klareste attributter - ved siden av å være en av de store opera og liedsangere innenfor mange sjangre og tidsepoker. I denne artikkelen konsentreres det om en kantate - og en innspilling av denne - i et album med Bach & Händel. Innspillingen og konsertopptaket med ensemblet Pygmalion og Raphaël Pichon er gode nok argumenter i seg selv. Uten tvil er dette noe av det fineste innen Bach-musisering for tiden. Og kantaten BWV 199 "Mein Herze schwimmt im Blut" er noe helt for seg selv!
Sabine Devieilhe
BWV 199 "Mein Herze schwimmt im Blut
You could say that contrasts are almost the essence of Bach's music and he has a genius for bringing light to darkness, but also for bringing shadows to those moments where you feel you can almost reach Paradise. This is especially true of his cantata No. 199, 'Mein Herze schwimmt im Blut'. It's full of sorrow, even tortured, but it also has a disarming restraint that is typical of Bach. It is a cantata of repentance, asking forgiveness for our sins, and I wanted to bring out its operatic power: the first accompanied recitative in the cantata goes beyond many expectations of sacred music.
– Sabine Devieilhe
Sabine Devieilhe sings the plaintive aria "Stumme Seufzer, stille Klagen" from Bach's cantata Mein Herze schwimmt im Blut, with Raphaël Pichon and the Pygmalion ensemble.
"You could say that contrasts are almost the essence of Bach's music and he has a genius for bringing light to darkness, but also for bringing shadows to those moments where you feel you can almost reach Paradise. This is especially true of his cantata No. 199, 'Mein Herze schwimmt im Blut'. It's full of sorrow, even tortured, but it also has a disarming restraint that is typical of Bach. It is a cantata of repentance, asking forgiveness for our sins, and I wanted to bring out its operatic power: the first accompanied recitative in the cantata goes beyond many expectations of sacred music."
– Sabine Devieilhe
Great sorrow and great joy, expressed in in sacred and secular arias and cantatas, are the themes of Sabine Devieilhe's album of Bach and Handel. Recorded with the Pygmalion ensemble and conductor Raphaël Pichon, it features appearances by baritone Stéphane Degout and lutenist Thomas Dunford and includes Bach's cantatas 'Mein Herze schwimmt im Blut' and 'Jauchzet Gott in allen Lande', and excerpts from Handel's Brockes Passion and Giulio Cesare.
"This is possibly the most personal programme I've recorded so far," says Sabine Devieilhe, "and I've been lucky enough to record it with the Pygmalion ensemble and my husband Raphaël Pichon. We really wanted to convey the idea of human emotion that at times goes beyond our understanding, and which creates music of extraordinary drama. "
This reading employs a deft strategy where each aria commands its distinctive emotional conceit in the journey. It is heartbreaking from the first accompagnato – with a vibrant orchestral presence that alluringly emboldens Devieilhe towards the longed-for reconciliation. In 'Tief gebückt', Bach combines profound remorse with the assurance of faith in a manner never quite repeated in his oeuvre. As a stand-alone aria, this is as beautiful and eloquently delivered as any Bach soprano-singing in recent years.
- Gramophone
4. Arie: Tief gebückt und voller Reue
Tief gebückt und voller Reue
lieg ich, liebster Gott, vor dir.
Ich bekenne meine Schuld,
aber habe doch Geduld,
habe doch Geduld mit mir!
Dypt nedbøyd og full av anger,
ligger jeg, min Gud for deg.
Jeg bekjenner skyld så stor,
men jeg stoler på ditt ord.
Ha tålmodighet med meg!
Kilde: Bach Cantata Website
