Since
Ton Koopman began recording Bach's complete cantatas in 1994, he has gone through three labels in getting his recordings to the public. First it was Erato, then it was Teldec, and now, finally, Antonie Marchand, the company that has not only completed
Koopman's work but reissued the earlier volumes. All this is a wonderful example of tenacity and dedication and a superlative example of commerce in the service of great art. And, make no mistake,
Koopman's performances are great art. His depth of understanding of the music -- some of the greatest sacred music ever composed -- coupled with his understanding of the words -- some of the most agonizing words ever set to music -- and his understanding of the context -- the slow re-birth of German Protestantism after the death and destruction of the Thirty Years War -- is nonpareil and the rewards of his performances without end. From the celebratory Darzu ist erschienen der Sohn Gottes, BWV 40, through the sublime O Ewigkeit, du Donnerwort, from the ethereal soprano
Dorothea Röschmann to abysmal bass
Klaus Mertens, from the sensitive violin of concertmaster Margaret Faultless to the clarion trumpet of Stephen Keavy, the eighth volume of
Koopman's cantatas is well worth hearing by anyone who loves Bach's sacred music. Antonie Marchand's reissue of Erato's sound is just as warm, deep, and detailed as the original.