Perhaps most appealing in Gardiner's direction is the unfailing delight he takes in refreshing Bach's dance rhythms without ever trivialising textural content.

This eclectic selection covers works for Quinquagesima, the Annunciation, Palm Sunday and Oculi (the third Sunday in Lent) in arguably the least even of the seven releases so far. Yet there are significant contributions smattered throughout, not least Nathalie Stutzmann's purpleclad Widerstehe (No 54). This true contralto imparts a captivating resilience in the face of sin's devious tricks.
Inspired by the chamber-like ecclesiastical works of Bach's Weimar period, the reduced string ensemble lends a similar intimacy to No 182, though both works suffer from some scrappy playing that clearly could not be rectified simply by dropping in 'patches' from before or after.
Stutzmann, however, projects just the right sense of involvement without forcing the issue.
Wie schön leuchtet der Morgenstern (No 1) is the major work here – a masterpiece of understated majesty and gentle celebration (for the Annunciation) where Bach appears to alight on the morning star as a direct resonance of Epiphany; such musical connections within the cantata oeuvre, throughout the church calendar, provide listeners with endless sources of fascination.
Gardiner's performance is more an example of a splendid occasion captured rather than a notable addition to a distinguished discography.
Cantatas Nos 22 and 23 were Bach's first to have been performed at Leipzig, audition pieces for the post of Thomascantor before his eventual appointment. Both were performed in the same service on the morning of February 7, 1723. Given the Lenten context, Bach hardly had a chance to flex his muscles in opulent displays of orchestration but he makes up for this with two pieces of subtle stylistic range.
Jesus nahm zu sich die Zwölfe (No 22) is strikingly prescient of Passion narrative as Christ prepares for his death with melismas of distilled sadness and acceptance of destiny.
Peter Harvey's is an affecting performance, as is the incrementally impressive Du wahrerGott (No 23), of which Gardiner completely has the measure.
One special movement to bottle? 'Es ist vollbracht' from No 159 – arguably even better than the setting of the words at the end of the St JohnPassion. Heartfelt singing from Harvey is adorned by playing from oboist Marcel Ponseele which is as exquisite as you'll ever hear.

One special movement to bottle? 'Es ist vollbracht' from BWV159 - arguably even better than the setting of the words at the end of the St John Passion. Heartfelt singing from Harvey is adorned by playing from oboist Marcel Ponseele which is an exquisite as you'll ever hear.