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CD Hints: Impressive Musical Paintings

Soline Guillon is an organist and harpsichordist living in Darmstadt who drew several times attention to her. She now proposes a recording made in the Petruskirche with harpsichord pieces of François Couperin (from the second „Livre de Clavecin“), Sweelinck's variations on „Mein junges Leben hat ein End“, Bach's 1st Partita (BWV 825) and Rameau. She proves to be an exceptional harpsichordist, who creates in those mood pieces impressive musical paintings. Besides usual chirping, the harpsichord offers astonishing sound volume, particularly in the pronounced bass. It is a replica (by Marian Johannes Schreiner from Darmstadt) of a historical instrument of the Flemish harpsichord builder family Ruckers (late 17th Century), owned by the Petrus congregation. Above all the tuning of the instrument has been adapted to the style of the respective pieces, so that striking sounds effects and frictions are created in Couperin's pieces. The finale of Bach's partita becomes under the hands of Ms Guillon a virtuoso toccata, as Bach converts his giga. Who until now hasn't much enjoyed harpsichord will be here disabused.


Darmstädter Echo 23.1.2009

Hell ride with B-A-C-H

Organ concert: Soline Guillon's tour through music history in the Pauluskirche

... Soline Guillon demonstrated in the Darmstadt Pauluskirche last sunday her versatility with a concert during which she lead the listener through centuries.

... Already in Bach's choral prelude „Dies sind die heiligen zehn Gebot“ (BWV 678), she extracted clearly the choral, counterpointed by the other voices. A self-evident virtuosity stands her in good stead during her agile fingerplaying.

... Actually the playing of this organist is an asset. This also holds for the Fughetta by Mendelssohn which sounds like a lyrical song without words or the first sonata in d minor op. 11 by August Gottfried Ritter, which incorporates in the sonata movement toccata-like episodes. Before all, Mrs Guillon possesses an astonishing sense of style, which contributes further to a clear structuring.

... Liszt's „Präludium und Fuge über den Namen B-A-C-H“ was the crowning conclusion. A virtuoso big hit. And the organist really deployed a virtuosic hell ride in this pianistic work

... No lower summit was at the beginning Messiaen's jazzy movement „Joie et clarté des corps glorieux“...
... „Joie et clarté“ stand at the same time for Soline Guillon's interpretation manner, which is characterized by her playing and clarity.

Heinz Zietsch

Darmstädter Echo 29.4.2008

Emotional suspense and technical brilliance

First-class organ concert by Soline Guillon in the Bergkirche

... Young French organist Soline Guillon played in the lutheran church in Zwingenberg works by Johann Jakob Froberger and Georg Muffat, who count among the most significant sources of inspiration in the European musical tradition.

... This was a real musical confrontation, allowed by the quality of the instrument and Soline Guillon's nuanced playing.

... Soline Guillon presented Bach's melodic Trio sonata in e minor (BWV 528) with finely interweaved voices and expressive cantability.

... This well-known piece (Praeludium and Fugue in e flat major) full of musical-theological symbolism was a climax of the concert, in which Soline Guillon managed to preserve the balance between virtuosity and musicality: emotional suspense and technical brilliance shaked their hands during this musical experience.

... Mrs Guillon presented juvenile freshness paired with musical earnestness and never let the audience feel what high exigencies are concealed behind a such convincing interpretation.


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