Bach Cantatas Volume 17

January 2009

*****

“Soloists are superb throughout, Ruth Holton (soprano) specially striking for her transparent almost boy-like tone (BWV 58), and James Gilchrist (tenor) matching instrumental agility while a trio weaves heavenly counterpoint around him in BWV 171. Instrumentalists are no less polished... Altogether, Gardiner and his team at their very best.”

February 2009

“Splendid New Year cantatas from the very earliest days of the Pilgrimage. Most stirring perhaps is the bold canvas of Jesu, nun sei gepreiset, whose energetic climbs… are negotiated with exceptional bravura.”

“All [cantatas] are beautifully performed by the Monteverdi Choir and the English Baroque Soloists, with the tenor James Gilchrist outstanding for his stylish grace.”

2010

“Performed on the first days of the new millennium, this Pilgrimage volume has an especially candid coherence about it. These six New Year cantatas consistently speak of new prospect and a consolidated ambition to serve God's purpose.
If trumpets predominate in the festive exulting of the first four cantatas, the forces diminish markedly in Nos 153 and 58, partly because the theme of joy is startlingly checked by the fear of evil influence but, also, because Bach's hardworking troupe would have been sung-out after a busy Christmas. The resonant Gethsemanekirche in Berlin is beautifully handled throughout by both Gardiner and his engineers.
Most stirring perhaps is the bold canvas of Jesu, nun sei gepreiset, whose energetic climbs (with, in the opening chorus, one exceptional break to wave farewell on the words 'that we in prosperous peace have completed the old year') are negotiated with exceptional bravura. Then, later, there's a pastoral aria with oboe contours of shepherding solace that one recognises from the Christmas Oratorio.
If pickings are rich here, the 'guardian' arias are most illuminatingly realised by James Gilchrist, notably in 'Woferne' from the same cantata, whose piccolo cello circumnavigates the all-encompassing grace of the vocal line. Possibly even more beguiling is the conceit of untainted bliss in 'Geliebter Jesu' in No 16 with its stunning oboe da caccia accompaniment.
Bach instils an innocence and trust here which Peter Harvey virtuosically sets up in the great solo nestling between the exhortations of the maverick aria-chorus, 'Lasst uns jauchzen'.
The opening cantata, No 143, may be a spurious work: there's something of the apprentice about it. This could not be further from the truth in the concise masterpieces No 153 and 58. In the former, there's something touching about Sally Bruce-Payne emerging from the Monteverdi Choir to sing her cathartic 'Soll ich meinen' after the mental breakdown of 'Stürmt nur' (a fine 'rage' aria). Ach Gott, wie manchesHerzeleid is given a slightly brittle reading here.
Gardiner reminds us again here that his hitrate is exceptionally high.”