Bach, J S: Cantata BWV112 'Der Herr ist mein getreuer Hirt'

“[BWV112] is well worth exploring, especially for Robin Blaze's liquid countertenor...Hana Blazikova and Peter Kooij's first duetto might sound distinctly lacking in impatience for the coming of the Saviour, but happily their second is ecstatic and full of life.” BBC Music Magazine, May 2013 ****

“BWV112 is universally outstanding. Suzuki draws attention to the strongly directed bass-lines of the chorus, the bucolic effervescence of 'Zum reinen Wasser' - delectably delivered by Robin Blaze - and the carefree, generous coloratura of the wonderfully etched duet...this is a finely characterised reading, celebrating the older Bach in a happy place.” Gramophone Magazine, March 2013

“The acoustic is warm, draws no attention to itself; and the balance of solo singers, solo instrumentalists and ensemble is excellent.” MusicWeb International, April 2013

“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

“Remarkable” Penguin Guide