Bach, J S: Cantata BWV42 'Am Abend aber desselbigen Sabbats'

“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

“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

“…everyone of these cantatas find the composer on irresistible, heart-rending form. Happily, too, the responses of these excellent musicians leave little to be desired. Undeniably fine performances by John Eliot Gardiner (BWV 6), Philippe Herreweghe (BWV 42), and Karl Richter (BWV 108) must take second place beside readings of this order.” BBC Music Magazine, November 2007 *****

“It is Ich weret weinen which immediately arrests the listener… in a compelling performance. This is Suzuki at his best: unequivocal direction of line and beauty of conception, enhanced by Robin Blaze and James Gilchrist in irrepressible form.” Gramophone Magazine, March 2008

“Throughout this ongoing series I have come to consider the magnificent direction of Masaaki Suzuki to be one of the greatest recording achievements of my lifetime” MusicWeb International

“These recordings form a remarkable part of the immediate post-war musical legacy in what was then West Germany...it’s thrilling to have so many examples of [Fischer-Dieskau's] early work in this box...The singers of the RIAS-Kammerchor make a strong contribution...These performances constitute a major addition to the discography of Bach’s cantatas. Their reappearance after all these years is a cause for rejoicing.” MusicWeb International, July 2012