Johann Sebastian Bach

“Perhaps most appealing in Gardiner's direction is the unfailing delight he takes in refreshing Bach's dance rhythms without ever trivialising textural content.” BBC Music Magazine, April 2006 *****

“This eclectic selection covers works for Quinquagesima, the Annunciation, Palm Sunday and Oculi (the third Sunday in Lent) in arguably the least even of the seven releases so far. Yet there are significant contributions smattered throughout, not least Nathalie Stutzmann's purpleclad Widerstehe (No 54). This true contralto imparts a captivating resilience in the face of sin's devious tricks.
Inspired by the chamber-like ecclesiastical works of Bach's Weimar period, the reduced string ensemble lends a similar intimacy to No 182, though both works suffer from some scrappy playing that clearly could not be rectified simply by dropping in 'patches' from before or after.
Stutzmann, however, projects just the right sense of involvement without forcing the issue.
Wie schön leuchtet der Morgenstern (No 1) is the major work here – a masterpiece of understated majesty and gentle celebration (for the Annunciation) where Bach appears to alight on the morning star as a direct resonance of Epiphany; such musical connections within the cantata oeuvre, throughout the church calendar, provide listeners with endless sources of fascination.
Gardiner's performance is more an example of a splendid occasion captured rather than a notable addition to a distinguished discography.
Cantatas Nos 22 and 23 were Bach's first to have been performed at Leipzig, audition pieces for the post of Thomascantor before his eventual appointment. Both were performed in the same service on the morning of February 7, 1723. Given the Lenten context, Bach hardly had a chance to flex his muscles in opulent displays of orchestration but he makes up for this with two pieces of subtle stylistic range.
Jesus nahm zu sich die Zwölfe (No 22) is strikingly prescient of Passion narrative as Christ prepares for his death with melismas of distilled sadness and acceptance of destiny.
Peter Harvey's is an affecting performance, as is the incrementally impressive Du wahrerGott (No 23), of which Gardiner completely has the measure.
One special movement to bottle? 'Es ist vollbracht' from No 159 – arguably even better than the setting of the words at the end of the St JohnPassion. Heartfelt singing from Harvey is adorned by playing from oboist Marcel Ponseele which is as exquisite as you'll ever hear.” Gramophone Classical Music Guide, 2010

“One special movement to bottle? 'Es ist vollbracht' from BWV159 - arguably even better than the setting of the words at the end of the St John Passion. Heartfelt singing from Harvey is adorned by playing from oboist Marcel Ponseele which is an exquisite as you'll ever hear.” Gramophone Magazine, May 2006

“Still brilliant in his mid-nineties, Horszowski was a beacon of light…BBC Legends has caught this occasion in all its glory.” (Gramophone)

“His Mozart D minor Fantasia is freely expressive… and his way with Beethoven's Second Sonata naturally and unselfconsciously open to every aspect of so much early sparkle and charm. But it is in Franck's Prélude, choral et Fugue that Horszowski achieves his greatest success, unfolding its incense-laden pages with a gravity that makes you wonder whether this is the most devotional and heartfelt of all recorded performances of this glowing masterpiece.” Gramophone Magazine, July 2006

"Everything is in perfect taste. True, the D minor Toccata flares away on reeds of truly spitfire quality, but magnificent display is what's wanted, and by golly it's what we get!" (Gramophone)

“Performances are stylish, graceful and very well sung and played.” BBC Music Magazine, April 2006 ***

“you won't be disappointed by the brilliance of the orchestral introduction and the crisp articulation of the opening chorus of the Easter Oratorio...The soloists are fresh-voiced and sing with unaffected simplicity, especially soprano Yukari Nonoshita as Mary the mother of James in the Easter Oratorio.” Andrew McGregor, bbc.co.uk, 15th April 2006