Belgium's
Ricercar Consort has a long record of
Bach performances that transcend national styles; it has something of the dramatic Italian approach, the lush sound from Francophone lands, and well-drilled German clarity. In this set of
Bach cantatas it uses the currently fashionable one-voice-per-part approach, with the "chorus" consisting simply of the voices massed together. No doubt there is evidence that the procedure was used in
Bach's time; whether it was considered desirable in North German communities where the bourgeousie observed the big choirs of noble houses and powerful churches elsewhere in Europe is another matter. The results in this collection of early works, however, are musically persuasive. Included are three early
Bach cantatas, including by many reckonings the very first one, the Cantata No. 131, "Aus der Tiefen ruf ich Herr zu dir," BWV 131 (From the depths, Lord, I call out to you). This work is not at all in the usual
Bach cantata patterns with chorus and chorale framing a series of arias. Instead there is a sequence of multisectional movements, with the chorale distributed around the work in the manner of a keyboard chorale partita. All three of these cantatas, including the famous Canata No. 4, "Christ lag in Todesbanden," BWV 4 (Christ lay, bound by death), look back to the 17th century -- to the intense and intimate sacred music of
Buxtehude specifically -- and are among the most expressive of all of
Bach's works. The madrigal-like solo textures work well here, especially when soloists of the highest caliber are present as they are on this recording. Soprano
Katharine Fuge (and didn't she choose the right line of work!) and fast-rising countertenor
Carlos Mena are both standouts. Sample
Mena's luxuriant melancholy on the aria "Leget euch dem Heiland unter" (Submit to the savior) from the Cantata No. 182, "Himmelskönig sei willkommen," BWV 182 (May the king of heaven be welcome). The coolly intense playing of the
Ricercar Consort under
Philippe Pierlot supports the singers and the overall mood beautifully at every turn, and the sound is superb. A major find in the crowded
Bach cantata marketplace, at least for those who buy the one-voice-per-part theory or are willing to accept it for the sake of argument.