The label of rare and unpublished repertoires...
fr en
Komm, Komm, mein Herze steht dir offen
Extract from the cantate BWV 74
Ich folge dir gleichfalls
Extract from the Passion selon saint Jean, BWV 245
Toccata et fugue en ré mineur
BWV 565
Seufzer, Tränen, Kummer, Not
Extract from the cantate BWV 21
Erfüllet, ihr himmlischen, göttlichen Flammen
Extract from the cantate BWV 1
Ich will dir mein Herze schenken
Extract from the Passion selon saint Matthieu, BWV 244
Eilt, eilt ihr Stunden
Extract from the cantate BWV 30
Stumme Seufzer, stille Klagen
Extract from the cantate BWV 199
Prélude et fugue en la mineur
BWV 543
Aus Liebe will mein Heiland sterben
Extract from the Passion selon saint Matthieu, BWV 244
Nur ein Wink von seinen Händen
Extract from the Oratorio de Noël, BWV 248
Liebster Gott, erbarme dich
Extract from the cantate BWV 179

Total time : 66'35''
Recorded at Javols church (Lozère, France), from 11 to 14th September 2012.

Artistic direction: Maurice Bourbon, Jean-Marc Laisné
Recording, Editing and mastering : Jean-Marc Laisné
Graphic conception :
Pictures : Nima Yeganefar
Rights reserved for all pictures.

Our special thanks to M. Malavieille, mayor of Javols, and to the hostel Le Regimbal for the quality of their hospitality.

Producer : L'homme armé éditions
La Chapelle des Flandres
Distribution : Codaex
Translation : Marcia Hadjimarkos

AR RE-SE 2014-3


Johann-Sebastian Bach, both a composer and a virtuoso performer on the harpsichord, organ and violin, grumbled all his life about bad instruments and players, and was constantly on the lookout for talent.

He asked a tenor from his choir to replace the weak first violinist, but then didn’t have enough tenors... at the age of 18 he brandished his sword in the street to fend off a terrible bassoonist he had called “an old goat” during a rehearsal, and who was waiting for him afterwards with a stick... and three years before his death, when he visited Frederick the Great of Prussia, he rushed to play the King’s Silbermann fortepianos. So excited was he by their potential that he improvised fugues on themes given to him by those in attendance, which later became The Musical Offering.

It is therefore easy to imagine Bach taking advantage of the accordion’s unlimited potential: its malleable and boundless dynamics, in direct contact with the bellows; its ability to convey finely nuanced phrasing, like a human voice; its registers, comparable to an organ’s; its sophisticated buttonboard, which allows for virtuoso playing; and its great musical agility, like that of a chest organ.

Of course, Bach would also have picked up on its limitations. These stem from the dynamic uniformity of the right and left hands, but are offset by the player’s ability. He might even have tapped Bogdan Nesterenko on the shoulder, asking him to put down his accordion and let him try out this incredible new instrument. And despite Bach’s incredible gifts, he would probably have handed it back quickly, after realizing how very difficult it is to play!

Maurice Bourbon

The Press covers it !

« With Jean-Sébastien Bach, they knit a very beautiful dress for our winter, a fantasy conceived with precision and pleasure [...] A delight... »
Blog Mediapart
January 2015, Frederick Casadesus
education musicale

« Bach with accordion, why not ? »

Edith Weber
Newsletter nb. 89 (february 2015) from L’ÉDUCATION MUSICALE (Paris, Beauchesne)
« The clear voice of Juliette de Massy slightly flies into vocalizations of these cantatas while rich and expressive harmonic support is developed by Bogdan Nesterenko's accordion. The latter is a virtuoso concert instrument with very extensive possibilities and it manages to match the organ in all its richness. The sound recording of Jean-Marc Laisne wisely uses the natural reverberation of a small church to beautify the song. »
ENA Magazine
« Heaven exists. Listening to this disc, you will be transported there... »
L'ENA MAGAZINE, Mars 2015 - N°449