Bach, J S: Cantata BWV67 'Halt im Gedächtnis Jesum Christ'

“Pulsating and genuine fervour of that type is… found again in the disc containing three cantatas dating from 1959/60. I reviewed this in May 1993 and was mesmerized by the honesty of the performances, as well as several notable contributions, not least Sir Peter Pears’s invigorating singing in No. 67 and Keith Engen’s deeply moving ‘vox Christi’ in the same work. This was one of my 'Critics’ choices' of 1993” Gramophone Magazine

“The seven cantatas here, nominally representing the works for the two Sundays after Easter, cover an unusual range from No 150 to the dazzling maturity of three pastoral cantatas from three different cycles in Leipzig. As Gardiner reminds us in his entertaining diary, the Neue Kirche in Arnstadt is now named after its teenage protégé organist and it seems appropriate that the early cantata Nach dir, Herr, verlangenmich should appear at the very place in which it probably received its premiere. One observes the ostentation of youth where Bach rolls out his command of past and current musica lingua as an advertisement of his ability.
The performances from Arnstadt are generally fresh and satisfying, and in No 150 there is a real sense of occasion. There are significant challenges in the burly orchestral concerto movement which opens Am Abend (No 42) and its long meandering aria 'Wo zwei und drei', bravely negotiated by Daniel Taylor but which, for me, cries out for the embracing security of a fine mezzo or contralto. The bold Halt imGedächtnis (No 67) receives a committed reading but the extraordinarily dramatic scene with bass and chorus (where Christ brings peace and assurance to his ostracised disciples) fails to resonate with special moment.
The more durable performances come from Echternach in Luxembourg. Du Hirte Israel (No 104) is a gloriously poised work, unassuming on the surface and yet requiring the judgement to 'lift' each balletic movement without pushing the pace. Gardiner is only thwarted from hitting the spot by generally uneventful solo singing.
Ich bin ein guter Hirt (No 85), on the other hand, conveys the delicate and subtle pastoral conceits of 'Christ, the good shepherd' with endlessly alluring dialogues between on-form singers and instrumentalists, notably some disarmingly beautiful oboe playing, a performance of real distinction. The concise No 112 (following Psalm 23 to the letter) glows with the same ardour. It is indeed the second disc which establishes the longer-term credentials in this richly endowed and unique series.” Gramophone Classical Music Guide, 2010

“Ich bin ein guter Hirt (BWV85)… conveys the delicate and subtle pastoral conceits of "Christ, the good shepherd" with endlessly alluring dialogues between on-form singers and instrumentalists, notably some disarmingly beautiful oboe playing, a performance of real distinction.” Gramophone Magazine, August 2007

“Each new arrival in John Eliot Gardiner’s massive Bach Cantata Pilgrimage series is still, unapologetically, worth trumpeting…Pure pleasure.” METRO

“What brings this Matthew Passion to life is the nobility of Kathleen Ferrier.” BBC Music Magazine, May 2012 ***