In 1999 lost works by members of the Bach family were rediscovered in Kiev. Among them were cantatas by Wilhelm Friedemann, whose tercentenary last year was the occasion for a sumptuous concert at which they were revived. The live recording was made in the beautiful Augustinerkirche in Mainz, whose proportions impose a welcome, restraining harmony on the ornate rococo decoration. I mention the building first because its visual impact is integral to this project’s success, matching the splendour of the music.

For it is truly splendid music, and this recording a worthy successor to the cantatas recorded 20 years ago by Hermann Max and the Rheinische Kantorei (Capriccio, 11/94). The usual cliché that these works reveal a new side to the composer is here amply justified, for whereas some of the choral numbers on the Capriccio discs seemed a tad undernourished, even perfunctory, the opening choruses here are elaborate and richly wrought, full of the incident that make Friedemann such an endearing figure (albeit an often misunderstood one). The text of the Christmas cantata Ach, dass du den Himmel zerrissest (“Ah, that you might rend the heavens asunder!”) inspires him to particular boldness, as the choir sing a single line (not, incidentally, a chorale melody) entirely in octaves, and are suddenly interrupted, aptly illustrating the opening words, by the soloists. There’s some stunning instrumental writing, too, for the bass aria of the same cantata, in which the horns display quite astonishing athleticism. Many of the arias feature a pair of the same kind of obbligato instrument, at various times horns, violins and flutes, and as the band also includes trumpets, oboes, a bassoon and a continuo group boasting a lute, there is variety in abundance.

The Mainz Bach Choir is in every sense a full participant and the instrumentalists of L’Arpa Festante acquit themselves with distinction. The soloists are evenly matched, though the alto is perhaps slightly less assured in her delivery. The collective sense of commitment, even of enjoyment, is palpable, however. On balance, this may just be the best way to get to know a fascinating composer.