Bach, J S: Cantata BWV58 'Ach Gott, wie manches Herzeleid' - CD

“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.” BBC Music Magazine, January 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.” Gramophone Magazine, February 2009

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

“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.” Gramophone Classical Music Guide, 2010

“The wonderfully trim and naturally expressive period band and choir, underpinned by an exceptional group of continuo players…. High-quality Bach singing and playing.” The Guardian

“A profound 'Ich habe genug' and exquisite singing from Sampson.” Gramophone Magazine, June 2008

“Easily the best-known piece here is Ich habe genug (BWV 82). Peter Kooij's tender, yearning account is more modestly stated than versions by his more extrovert rivals. Gerd Türk, assisted by Suzuki's beautifully shaped phrasing, makes a stronger case for the austere Ich armer Mensch (BWV 55) than any rival version that comes to mind.” BBC Music Magazine, May 2008 *****

“As the honeymoon period of Bach's appointment began to wear off, two or three years after his arrival in Leipzig, the composer's cantatas became less central to his creative life. More works by other composers began to appear in the church calendar as energy was increasingly focused towards new large-scale projects, of which the St Matthew Passion was the most pressing at the time these four solo cantatas were composed.
Smaller resources may also suggest a shortage of adequate forces in Leipzig in the months between late 1726 and early 1727 but there is no let-up in quality. This latest Bach Collegium volume includes one of the most celebrated of all bass-baritone works, Ich habe genug, in a reading of profoundly felt utterance by the experienced Peter Kooij. This is an even and fluent version, if in 'Schlummert ein' a touch too objective and laid-back. Yet the world-weariness of this great slumber aria is beautifully caught by Masaaki Suzuki in both the textural sensibility and rhythmic nuance of the ensemble. Unforced and natural, this is a reading reminding us of the simplicity of the work's unalloyed beauty.
Carolyn Sampson grows in stature as a Bachian in her exquisite musical judgement and technical assurance, not least in the outstanding tuning and allure of 'Ich halt es mit lieben Gott' (from Falsche Welt, No 52, which includes a rather sleepy performance of its Sinfonia, from the earliest version of Brandenburg No 1). Ich armerMensch is the only extant solo tenor cantata, a piece for whom man's inherent sinfulness is prevalent in supplicatory chromaticism, but hampered here by a tired-sounding Gerd Türk and some uncharacteristically sour intonation from the flautist, Liliko Maeda.
Sampson and Kooij share the delights of No 58, Ach Gott, wie manches, a symmetrical and passionately conceived work framed by splendid duets in which the bass paraphrases the soprano chorale (the symbol of Soul and God) – transformed from a tortured chaconne in a cathartic concerto romp. This is a fine close to another largely successful addition to this distinguished series.” Gramophone Classical Music Guide, 2010

“Fresh and incisive, Gardiner’s live performances are an ideal tonic for any winter blues.” The Times, 21st December 2012

“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

“Remarkable” Penguin Guide