They dally deliciously on any expressive dissonances and suspensions, while the players add warmth and colour with intelligent use of vibrato and ornamentation, becoming more overtly dramatic at the start of the third cantata, where their percussive introduction reminds you forcibly of the nails hammered into Christ's hands.

Veldhoven's direction of each cantata's opening sonata is beautifully measured according to the sentimental subject matter. His five singers match the excellent Cantus Cöllin: the consort singing is comparably alert, responsive and dramatic in quick music but Veldhoven better exploits the melancholic passion of each exquisite moment.