Bach Collegium Japan's eloquent advance into the rich repository of cantatas composed during Bach's first year at Leipzig is distinguished in Vol 10 by Masaaki Suzuki's remarkable instinct for the emotional core of each of these three works.
Experiencing Herr, gehe nicht ins Gericht (No 105) reveals a sense of open-hearted fervour and contemplation, never for a minute cloying or selfregarding at the expense of vibrant expression.
This is a work embued with a rich discography, yet what Suzuki uniquely achieves, compelling in the opening chorus, is an intensity born of subtle contrast in vocal and instrumental articulation, underpinned by his uncanny ability to choose a tempo which provides for lyrical intimacy and organic gesture, as the respective texts demand.
Suzuki grasps the magnificent nobility of the composer's inspired musical commentary on the human soul in No 105. Miah Persson exhibits sustained control and delectable purity of tone in the continuo-less 'Wie zittern und wanken' and 'Liebster Gott' from No 179. With Peter Kooij's cathartic recitative singing (preparing the spirit of salvation) and the beautifully balanced tenor aria and final chorale, Herreweghe's elegant and fragrant 1990 account, a clear leader until now, has a companion on the top rung.
The bipartite Trinity cantata, Ärgre dich, oSeele, nicht (No 186), revised from a Weimar version of 1716, conveys equally Suzuki's assurance and vision. Perhaps the choruses which frame Part 1 are a touch short on gravitas (and tuning is intermittently awry in the first) but here, and in the formidable opening movement of No 179 rhythmic incision is the order of the day. This is another first-rate achievement (the soloists are slightly recessed but the recorded sound is excellent). Arguably the most complete and mature offering in the series so far.