Viola da gamba player and conductor Philippe Pierlot (not to be confused with the flutist of the same name, especially inasmuch as the gambist has also performed on flute recordings) is one of his country's leading specialists in historically informed performance. Best known as the leader of the Ricercar Consort, he is also a noted educator. Pierlot was born in Liège in 1958. He was already showing a strong interest in early music at age 12, taking up the lute, recorder, and guitar. His teacher on the viola da gamba was Wieland Kuijken, one of the modern pioneers of the historical performance movement in the Low Countries. In 1980, he founded the Ricercar Consort, emphasizing not only the performance but also the recording of little-known Baroque works in historically informed interpretations. The group recorded several albums of German Baroque choral and instrumental music and then toured in 1985 with a performance of Bach's A Musical Offering: in a sense its namesake with its famous ricercar movement. He has also performed as a soloist, with a repertoire that extends beyond the Baroque into new compositions dedicated to him. In addition to the gamba, he performs on the rarely played baryton, a stringed instrument for which Haydn wrote some 150 works. Pierlot revived the opera Sémélé by Marin Marais, giving the work its first performance in three centuries; for this project and for other works he has reconstructed scores, providing new music where necessary. He has also conducted choral works, often using the one-voice-per-part approach, and vocal music. With Ricercar, as both director and gambist, Pierlot has released more than 40 recordings, including the Bach cantata program Consolatio in 2018. Slated for release in 2019 was an album of music by the French gamba master Jean de Sainte-Colombe. Pierlot has taught at the Hochschule für Musik Trossingen in Germany, the Royal Conservatory of Music in The Hague, and the Royal Conservatory of Music in Brussels.
© James Manheim /TiVo
© James Manheim /TiVo
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Sacred Oratorios - Released March 29, 2019 | Mirare
Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
Composed by Dietrich Buxtehude in 1680 for the church of Lübeck, where he had been working for ten years, Membra Jesu Nostri describes the scars of the Passion of Christ through a cycle of seven cantatas. The work owes its title to a Latin manuscript written by a relative of Saint Bernard. Typical of the pietism of 17th century Lutheran Germany, the piece is a descent into the darkness of suffering and an ode to the promise of consolation. Grounded in rhetoric, Buxtehude’s music influenced a generation of innovative musicians. It would later be an inspiration to Johann Sebastian Bach, who traveled to Lübeck specifically to meet Buxtehude. Membra Jesus Nostri was written for a five-voice ensemble. It requires a set of soloists with three lower voices and two upper parts, as well as a subtle instrumental accompaniment featuring two violins, five viols, and one basso continuo chose by the musicians. Some authors have seen the influence of the “Versailles Motet,” which Buxtehude knew well, in this setup. The influence of Italian music, especially Monteverdi, which he may have known through his interest in Schütz’s music, is also clear. The work is the testimony to Buxtehude’s incredibly expressive power and deserves to be considered as a masterpiece among other spiritual compositions such as Schütz’s Musikalische Exequien, Bach’s Passions and, on an instrumental level, Biber’s Sonates du Rosaire.According to Philippe Pierlot, who can be heard on the record, “Buxtehude is appealing directly to our senses and making us experience the suffering of Christ. We can feel the wounds, the blows, and the heart when it ceases to beat. Thanks to the genius of his music, the composer not only moves his listener to intense emotion, but also enlightens him, giving him access to the deep meaning of the text it sings” © François Hudry/Qobuz