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Recordings

11 Jan 2005

Le Monde Reviews Lamento

Cela arrive rarement, le souffle coupé dès les premières notes. Une minute entière à retenir sa respiration dans une apnée d’émotion totale pour recevoir la première phrase du Lamento pour contralto, de Johann Christoph Bach, d’après les Lamentations de Jérémie, son ascension douloureuse, ornée de sanglots, puis les deux accords d’une longue plainte instrumentale, avant l’entrée, magique, de la voix de Magdalena Kozena. “Ach, dass ich Wassers g’nug hätte.” “Ah, si ma tête était remplie d’eau, si mes yeux étaient une source de larmes.” L’insouciance a été jusqu’alors votre lot ? Vous, toi, nous tous, pécheurs, allons connaître ce que pèse le lourd fardeau de nos iniquités – et la récompense de cette connaissance : 7 minutes 22 d’une pure splendeur musicale.

Magdalena Kozena, une pure splendeur

LE MONDE | 10.01.05 | 14h36

Cela arrive rarement, le souffle coupé dès les premières notes. Une minute entière à retenir sa respiration dans une apnée d'émotion totale pour recevoir la première phrase du Lamento pour contralto, de Johann Christoph Bach, d'après les Lamentations de Jérémie, son ascension douloureuse, ornée de sanglots, puis les deux accords d'une longue plainte instrumentale, avant l'entrée, magique, de la voix de Magdalena Kozena. "Ach, dass ich Wassers g'nug hätte." "Ah, si ma tete était remplie d'eau, si mes yeux étaient une source de larmes." L'insouciance a été jusqu'alors votre lot ? Vous, toi, nous tous, pécheurs, allons connaître ce que pèse le lourd fardeau de nos iniquités - et la récompense de cette connaissance : 7 minutes 22 d'une pure splendeur musicale.

Après, seulement après, on pourra s'étonner qu'Archiv Producktion ait transformé le troisième disque du projet discographique entrepris par Reihnardt Goebel et son Musica Antiqua Köln autour de la famille de Bach en récital Magdalena Kozena. Qu'à Bachiana 1 et Bachiana 2 ait succédé ce Lamento, qui substitue sur la pochette le beau visage de la mezzo tchèque au groupe de musiciens allemands. Rappelons que les débuts de la cantatrice chez Deutsche Grammophon en 1999, dans un programme d'arias de Bach justement, avaient suscité un vif enthousiasme. Mais revenons au disque.

C'est bien autour de la famille de Bach que le disque s'articule. De Johann Christoph, organiste et musicien à la cour d'Eisenach (1642-1703), en passant par Francesco Bartolomeo Conti, dont Bach avait recopié la cantate "Languet anima mea" en 1716, puis les Bach père et fils.

[Click here for remainder of review.]

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