Bach Mirror (IBS Classical, 2017)

CHF 22.00

The Works
Josquin des Prés (ca. 1450-1521)
Déploration pour la mort de Johannes Ockeghem

Johann Sebastian Bach (1685-1750)
Vergnügte Ruh, beliebte Seelenlust BWV 170

William Byrd (1543-1623)
Ye Sacred Muses

Johann Sebastian Bach
Ich habe genug BWV 182

The Artists
Anna Wall mezzosoprano
Lisandro Abadie bass-baritone
Nathalie Gullung oboe d’amore
Musique des Lumières
Afonso Fesch concertmaster
Facundo Agudin music director

About Bach Mirror
Facundo Agudín et Musique des Lumières. // par Esteban Buch, 2017
Richard Taruskin demonstrated in the 1980s that the historical performance movement was, by its very spirit, a modernist movement, based on the values of technical innovation and a reassessment of conventions. Musique des Lumières represents nowadays this modern approach to musical performance. And the true artistic translation of this approach lies in the spectral quality of the sound. Applied scholarship combined with the transgression of institutional routines granted the historicist movement its aesthetic and social dynamic. They henceforth embody the unquestionable ground on which contemporary experience is based – such as the one developed by Agudín and Musique des Lumières.
[complete article in booklet notes]

Heterogeneity and exploration. // by Facundo Agudin, 2017
Slowly, from the inside of the historically informed movement, a new approach seemed to grow : a kind of “transversal specialization”. Nowadays, a growing number of orchestras favour the recruitment of players who have been trained to be versatile: professionals who feel “at home” in a variety of musical languages. This would involve the exploration of unfamiliar sound spaces. Musique des Lumières gathers people from different worlds who usually do not mix, and aims to construct a unified sound from differing elements. Together with Orchestre Musique des Lumières and IBS Classical, we aimed to renew our own views on different landscapes of the “grand répertoire”. Our reading simply intends to appeal to any curious music lover.
[complete article in booklet notes]

Press

Bach Mirror: Repertoire belongs to no one. « Ultimately, the repertoire does not ‘belong’ to anyone. The ‘authenticity’ of a performance is closely linked to the effectiveness of the transmission, and depends on the depth of the relationship with the material, on having something to express and having the means to express it, » says the conductor, a disciple of Pedro Memelsdorff and a graduate of the Schola Cantorum in Basel. » // Santiago Giordano, Página|12, 30.01.18
https://www.pagina12.com.ar/92208-el-repertorio-no-pertenece-a-nadie

Baroque orchestras are contemporary historical projections.
— You speak of heterogeneity and flexibility as new values among the leading orchestras. In what sense is Musique des Lumières an ensemble of these characteristics?
— The repertoire belongs to no one. Many of us agree that the instrumental heterogeneity of orchestral ensembles is one of the few truly verifiable historical constants. // Pablo Vayón, Diario de Sevilla, 2017
https://www.diariodesevilla.es/mapademusicas/orquestas-barrocas-proyecciones-historicas- modernas_0_1186081406.html 

A fascinating play of mirrors on Bach’s work. The Orchestre Musique des Lumières brings together inhabitants of worlds that do not usually intersect, and attempts to construct a unity of languages from dissimilar elements. This dissimilarity manifests itself in the exciting timbral and stylistic striations that result in an unmitigated fervour, which keeps the listener on edge from one end to the other.Agudin approaches Bach both with the experience of 20th and 21st century music (which he regularly performs) and of historically informed practice. This crossed vision – the utopia of reconstruction and our fatal contemporaneity – combines the best of two worlds.  // Pablo Kohan, La Nación, 2017
https://www.lanacion.com.ar/espectaculos/un-fascinante-juego-de-espejos-sobre-la- obra-de-bach-nid2080843

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