JOHANN SEBASTIAN BACH

This 2-CD set with The Purcell Quartet and a distinguished group of soloists is the third in a series devoted to Bach’s early cantatas and the second focussing on the Weimar period.

Uniquely, but following historical precedent, The Purcell Quartet employs single voices, rather than a choir. The stance is still controversial, but recreates the works as they would have been performed originally, and therefore stands out from the more conventional approach, the product of subsequent developments of massed choral singing. Accompanied by The Purcell Quartet and their guest instrumentalists are the vocal soloists Emma Kirkby, Michael Chance, Charles Daniels and Peter Harvey. Individual vocal and instrumental lines are allowed to be heard to their full effect, which greatly enhances the impact and meaning of the cantata texts.

We offer this set at the price of two CDs for one.

This programme contains three cantatas dating from 1714, the year in which Bach was promoted to the post of Konzertmeister at the ducal court in Weimar. His responsibilities now included the composition of concerted sacred vocal music, including the writing of cantatas at regular intervals for Sundays and feast days of the liturgical year.

Bach performed all three works collected on this pair of discs several times. They are presented here as they would have been heard in Weimar at their 1714 performances. The first two works, Erschallet, ihr Lieder, BWV 172 and Himmelskönig, sei willkommen, BWV 182, have much in common in tone and atmosphere: both are essentially jubilant at the prospect of the heavenly eternity awaiting the good Christian at the end of his life, and the images of the Trinity led Bach to employ three trumpets in BWV 172. In BWV 182 there is, instead of trumpets and drums, an intimate conversation principally between violin and recorder. The jubilant mood of these two cantatas is juxtaposed with that of Ich hatte viel Bekümmernis, BWV 21, which exudes a feeling of despair, only for Bach to bring in trumpets and drums at the end as hope gradually begins to dawn.

The Weimar cantatas of J.S. Bach form an exceptional body of work and it is thrilling to hear them performed in a way that Bach would have recognised, and by artists respected in the early music field.

In the glorious fugal conclusion, the single voices again seem the correct approach: the interweaving of voices and instruments (including an unusually perky oboe) is utterly beguiling. In this version the tenor does the bulk of the solo singing and Dani
The recorded sound fits the fresh immediacy of the performances like a glove
Whatever the authentic arguments, to hear three of Bach’s finest early cantatas played this way, with every line of counterpoint pristine and audible, is a profoundly moving experience, especially in performances as expert and spiritually uplifting as the
It is marvellous to hear a group of singers and players so at ease, such masters of the ways of chamber music. Buy it, and if you don’t have the previous volumes, buy them too


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