Bach, J S: Cantata BWV126 'Erhalt uns Herr, bei deinem Wort'

“…expressive fervour and eloquent phrasing with which the excellent singers of the Monteverdi Choir infuse their performance. There are also some splendid solo contributions, notably from tenors James Oxley and James Gilchrist and basses Jonathan Brown and Stephen Loges.” BBC Music Magazine, June 2009 ****

“The weeks leading up to Lent carry a preparatory message which unifies these latest Pilgrimage cantatas: namely, one of expressing gratitude for spiritual blessings and – as specifically articulated in the wonderful minuet alto aria of the first work, BWV144 – the robust exhortation to 'be happy with your lot and get going'.
Gardiner's rapt performances launch themselves magnificently from the 'standing start' (as he aptly calls it) of the above-mentioned piece, whose opening chorus is stripped of all indul- Vocal JS Bach 80 gence, in both setting and rendering, to the unequivocal aggression of 'Erhalt uns', via the emotional extremes in the chorale cantata, Ichhab in Gottes Herz und Sinn, whose muscular hymn by Paul Gerhardt is worked over by Bach in juxtapositions of extraordinary range.
Then, on a more reflective note, comes the solo soprano cantata Ich bin vernügt, receiving a measured, rhetorically questing reading from Miah Persson. If not instantly radiant, this is terrific Bach-singing and Persson extends her fine contribution with a wonderfully moving 'Meinem Hirten', the last aria in No 92: one of those irresistible vignettes of unswerving discipleship in pastoral mode.
Likewise, there are outstanding contributions from the compellingly focused James Oxley in the 'rage' aria 'Seht, seht!' ('See, see how all things snap, break, fall'), almost Schreier-like in its onomatopoeic designs, Stephan Loges's suitably avaricious and pettifogging representation of those who 'devour the seed' in No 181 and the invigorated Monteverdi Choir extending the conceit, in No 126, in perhaps the most angry piece Bach ever composed. Spoiling for a fight, 'fending off murderous Papists and Turks' – an odd sentiment to be conveying in these ecumenical times – Gardiner's forces are on splendid form in another exceptional volume.” Gramophone Classical Music Guide, 2010

“…Gardiner's forces are on splendid form in another exceptional volume.” Gramophone Magazine, July 2009

“Strong interpretations, with fine choral work in this set of cantatas for Trinity. …the pick of the crop - certainly in choral terms - is the sensational and woefully little-known Es wartet, BWV187, whose opening canvas is strikingly extensive.” Gramophone Magazine, October 2009

“There’s nothing routine about this music, and nothing routine about these performances, either.” Sunday Times, 5th April 2009 ****

“Fine performances all round, but the palm as ever has to go to Bach himself: the amazing central fresco of BWV 18 is far more dramatic than most operas of the time.” The Observer, 19th July 2009

“On March 25, 1725, Bach celebrated the Feast of the Annunciation and Palm Sunday with a special cantata, Wie schön leuchet der Morgenstern ("How beautifully shines the morning star"), a work of breathtaking atmosphere and delicate ardour. Masaaki Suzuki's poised grandeur brings considerable richness to this marvellous score, a sparkling duo of solo violins offset deftly against the full ivory texture of high horns and low oboes in the chorus, and joined by top-drawer solo singing.” Gramophone Magazine, June 2007

“On March 25, 1725, Bach celebrated the Feast of the Annunciation and Palm Sunday with a special cantata, Wie schön leuchtet der Morgenstern ('How beautifully shines the morning star'), a work of breathtaking atmosphere and delicate ardour. Masaaki Suzuki's poised grandeur brings considerable richness to this marvellous score, a sparkling duo of solo violins offset deftly against the full ivory texture of high horns and low oboes in the chorus, and joined by topdrawer solo singing. If Gardiner brings more immediate emotion and Koopman a little more élan, Suzuki captures the moment with sustained warmth and intensity.
Equally striking in this volume of pieces from the unfinished chorale-cantata cycle (the second 'Jahrgang') is the graphic immediacy of Bach Collegium Japan; there have been occasions recently when rhetorical projection has become rather too smoothed over, neutral and objectivised. Not so in Nos 126 and 127, the former leaving no stone unturned in its spiky outbursts (trumpet fanfares in wrathful and unusual minor keys) to reflect the 'murderous intent of Pope and Turks'! The evocative Quinquagesima work Herr JesuChrist, wahr' Mensch und Gott is a pre-Passiontide lament of sublime quality and, again, Suzuki hits the mark with heightened characterisation and, especially, meticulous care with 'Die Seele ruht'. There are not many extended arias here but this masterpiece for soprano, solo oboe and two punctuating recorders and pizzicato continuo (for 'Sterbeglocken' – knells of death) is exquisitely performed by Carolyn Sampson. All in all, a disc to be cherished.” Gramophone Classical Music Guide, 2010

“Remarkable” Penguin Guide