The three works on this new disc from Virgin are profoundly expressive examples of Bach's craft in sacred cantata writing. Philippe Herreweghe's choir consists of some 16 voices to which he has added four excellent soloists all of whom are experienced artists in this repertory. Aus der Tiefen rufe ich is one of Bach's earliest cantatas dating back to 1707 or 1708 when he was at Muhlhausen. The text is a setting of Psalm 130, De profundis with additional verses from a Lenten hymn. Herreweghe conveys the sombre intensity of the piece and is especially well served by his soloists, choir and solo oboist. Some of the ensemble playing is scrappy but this is, none the less, a deeply felt performance with a lyrical contribution from Howard Crook.
The remaining two cantatas are Leipzig works from Bach's first annual cycle. Harmonically, Herr, wie du willt, so schicks mit mir is a work of considerable strength. The text, Gospel-based, underlines the contrasting states of human frailty on the one hand and God's omnipotence on the other. The opening chorale fantasia is a highly imaginative blend of hymn, declamation and episodes for the instruments. Bach offers an alternative here between obbligato horn or organ and in this performance the latter is preferred. Counterpoint and subtle instrumentation play a part in the work's dark climax, a bass recitative and aria in which Bach's extraordinary gifts at evoking musicaltextual imagery are on display. Peter Kooy is resonant, declamatory and affecting and is well supported on the whole by the strings, though the violins are at times apt to sound thin and scrawny. Perhaps the elegiac element in this section is underplayed but it is skilfully done all the same.
The beautiful Herr, gehe nicht ins Gericht is masterly from start to finish. The text focuses on two themes, the parable of the unjust steward and St Paul's warning to the Corinthians against idolatry and pride. The opening movement, with agonized, supplicatory cries from the choir paints a picture of the soul in deep distress. It is a picture which is further intensified in a canonic aria for soprano and oboe without continuo, the absence of which is indicative of man's fundamental instability. Barbara Schlick is affectingly partnered by Marc Ponseele whose delicately shaded oboe playing is all that one could wish for. Schlick herself is on top form, making this perhaps the interpretative high point of the entire recording; Bach's musical concept, furthermore, is breathtakingly original. Kooy declaims his expressive accompanied bass recitative with firm control and a feeling for the poetry, and Crook is effective in his aria dispelling the emotional intensity of the earlier sections. In this piece Bach calls for a 'corno' whose part is closely derived from the first violin line. No such instrument or related instrument is used here however, Herre-weghe seeming happy to settle for an oboe. The closing chorale is yet another striking piece in which the upper string parts accompany the harmonically varied four-part vocal texture in progressively elongated note values ending with a sorrowful chromatic progression towards a tierce de Picardie. Herreweghe manages all this with tenderness and emotional restraint achieving a sustained often deeply affecting performance. No serious reservations here; three wonderful works, affectionately realized with solo contributions of distinction.'