Bach, J S: Cantata BWV124 'Meinem Jesum laß ich nicht'

“The variety of these works for Christmas and Epiphany is astonishing, and the singing, from the Monteverdi Choir and soloists including Magdalena Kozena, fully matches it.” Sunday Times, 10th October 2010 ****

“With 10 top-flight soloists, it brings this awe-inspiring project to a powerful end.” The Independent on Sunday, 31st October 2010 ***

“There are countless highlights in the final two volumes. The duet-singing in BWV32 between Claron McFadden and Peter Harvey is memorably rewarding. Similarly cathartic is the peerless, reassuring expression of eternal union in the great duet of BWV154 with Michael Chance and James Gilchrist.” Gramophone Magazine, December 2010

“As before, performances offer the zinging energy, heartfelt beauty and occasional warts of the best live music-making...Christmas jubilation never turns strident. Elsewhere, Gardiner’s forces radiate quiet intensity in the tragedy and pathos of BWV 123, Liebster Immanuel — music of simple sobriety, powerful enough to stop the world turning.” The Times, 26th November 2010 ****

“The two strongly contrasting arias [of BWV 63], both duets, are expressively sung but it is Bernarda Fink's beautifully controlled, extended recitative which stands out for its tender articulation...James Gilchrist makes a fine contribution...notably in the solo tenor cantata 'Ich armer Mensch'” BBC Music Magazine, Christmas 2010 ****

“Bernarda Fink brings a moving sense of wonder to her accompanied recitative. From time to time, you feel that the performers are flying by the seat of their pants, but the commitment and enjoyment shine through.” Classic FM Magazine, February 2011

“Once more there is cause to extol the by now well-accustomed merits of Masaaki Suzuki’s complete cycle of Bach cantatas: a profound knowledge of style, a multifaceted art of phrasing, and perfectly-judged choices of tempo and musical character have been the distinguishing features of this series since its inception.” Klassik Heute

“Suzuki's solo team is excellent. Yukari Nonoshita and Robin Blaze dance through a delightfully jolly passepied duet in BWV124; Andreas Weller… Peter Kooij… achieves near-pinpoint accuracy…” BBC Music Magazine, September 2006 ****

“Masaaki Suzuki takes us further into the second year of Bach's post in Leipzig with four fine cantatas which sit at the solar plexus of the second cycle in New Year 1725 – the unfinished series of works whose primary catalyst was the hymn of the week and not the usual gospel reading. The quality and maturity of Bach's vocal writing is revealed here in works which are still fighting for recognition.
No 111 is the exception, with Bach's taut representation of God's might and also celebrated for the great duet, 'So geh ich mit behertzen Schritten' ('So I go with heartened steps') which Robin Blaze and Andreas Weller perform with exultant esprit.
Bach Collegium Japan are at their most persuasive in the superficially dour but incrementally magisterial opening choruses of both Nos 125 and 123, the latter a brilliant slow-burn contemplation of faith (and hope) with predominant falling motifs from the tender opening of the hymn. Suzuki paces this with as much warmth and understanding as he does in No 124, where a sweetly running oboe d'amore line threads its way through the galant minuet.
With Mit Fried und Freud we enter into another meditation on death, one in which Suzuki traverses Bach's extraordinary tonal excursions in the opening chorus, matched only by the succeeding aria where the blind disciple seeks Christ. Robin Blaze is quite exquisite here, as are the poignant oboe and flute obbligati which reflect the fragile human condition in a way strikingly akin to the mysteries and musical language of the St Matthew Passion. Suzuki and his musicians can be content that they have pulled out all the stops for one of Bach's most mesmerising creations.” Gramophone Classical Music Guide, 2010

“Bach Collegium Japan are at their most persuasive in the superficially dour but incrementally magisterial opening choruses of both Nos 125 and 123… with Mit Fried und Freud we enter into another meditation on death… Robin Blaze is quite exquisite here, as are the poignant oboe and flute obbligati which reflect the fragile human condition in a way strikingly akin to the mysteries and musical language of the St Matthew Passion. Suzuki and his musicians can be content that they have pulled out all the stops for one of Bach's most mesmerising creations.” Gramophone Magazine, October 2006

“Remarkable” Penguin Guide