Bach's 199 surviving sacred cantatas form a repertoire of masterpieces that defy comprehension. It's not just that there are so many of them, it's that every one is unique, exemplified by the seven cantatas on the third volume of
John Eliot Gardiner's Bach cantata pilgrimage, three for the Fourth Sunday after Trinity recorded at Tewkesbury Abbey and four for the Fifth Sunday after Trinity recorded at the Blasuiskirche in Muhlhausen.
The Tewkesbury cantatas feature a celebratory central choral sung by the strong-voiced
Monteverdi Choir in Ein ungefärbt Gemute, BWV 24, a stately aria sung by lush-toned alto
Nathalie Stutzman in Barmherziges Herze der ewigen Liebe, BWV 185, and a dancing aria cum trio sonata sung by dulcet-toned soprano
Magdalena Kozená accompanied by a wonderfully lyrical obligato bassoon in Ich ruf zu dir, Herr Jesu Christ, BWV 177. The Muhlhausen cantatas are even richer, with the mournful triple-time chorale that opens Aus dem Tiefen rufe ich, Herr, zu dir, BWV 131, and the doleful chorale fantasia for soloists and choir that opens Wer nur den lieben Gott lasst walten, BWV 93, plus the blissful duet in Siehe, ich will viel Fischer aussenden, BWV 88, sung with pure, clear tone by alto William Towers and soprano Joanne Lunn. While listeners unfamiliar with the cantatas may initially be intimidated by the size and variety of these works, the sheer beauty of Bach's inspired settings will keep pulling them back.
As always in his Bach cantata pilgrimage,
Gardiner stresses the bright and hopeful over the dark and despairing even in the gloomiest cantatas, and he elicits powerfully affecting but rhythmically flexible playing from the
English Baroque Soloists even in the dourest movements. Despite the change in countries and venues, the digital sound here is close enough to spotlight the soloists and distant enough to encompass the ringing chorals.