Bach's first version of the evening canticle Magnificat anima mea Dominum dates from 1723. In about 1728 he turned to the work once more, making a number of important changes; this later version, in D major, BWV243, is the one most frequently performed today and the one which John Eliot Gardiner has chosen for this recording. It's a work full of contrasts—contrasts of texture, of colour and of temperament—few of which escape the attention of Gardiner, his choir, orchestra and fine group of soloists. The choruses are sung with greater vigour and greater precision than I can recall having previously heard; articulation is crisp and diction excellent. I liked the brisk tempos, too, and the fervour with which the choruses are declaimed. The solo singing is of a uniformly high standard with some outstanding contributions from Charles Brett, Anthony Rolfe Johnson and David Thomas. I'm thinkin in particular of the ''Quia fecit'', in which Thomas is admirably accompanied by a perfectly balanced continuo texture, and the ''Et misericordia'' duet for alto and tenor, which is sung with great tenderness and restraint by these artists. Amongst the obbligato contributions I must single out that of the oboe d'amore in the ''Quia respexit'' which is sensitively played and hauntingly beautiful.
The cantata, Jauchzet Gott in allen Landen, is one of three for solo soprano which Bach wrote at Leipzig during the 1730s. The spirit of the text, as its title implies, is one of rejoicing. Its a spirit which the soloist, Emma Kirkby, captures well. Her solo partner in the colourful opening movement and in the fugal ''Alleluia'' at the close is Crispian Steele-Perkins who manages Bach's exacting trumpet parts with precision. I'm afraid I didn't much enjoy the exaggerated acceleration in tempo for the ''Alleluia'' section of the final movement, but it's a dazzling display without any doubt. In the first section of this concluding aria there is a lively partnership of two solo violins providing concerto-like support to the vocal cantus firmus.
These are fine performances of two Bach's best-known church compositions. The recorded sound is clear though my pressing was poor. I have not seen any presentation yet.'