After the discomfort of an initial discrepancy in pitch between timpani—a fraction sharp—and the remainder of the band I soon found myself enjoying this new recording of Bach's Christmas Oratorio. But even so there are details in the performance which mar an otherwise enlightened approach to the music. How, for instance, did the insecure and out-of-tune second violin trills (bars 3 and 46) of the Sinfonia of the second cantata elude the editor's scrutiny to find their way into the final version? It may sound a quibble but their presence is distracting. Similar problems occur elsewhere from time to time though such weaknesses are comfortably out-weighed by the strong features of the interpretation. Foremost among these is the solo vocal group in which there are no weak elements. The tenor Christoph Pregardien carries the main burden, singing both the role of Evangelist and the tenor arias. Some listeners may feel that he lacks that commanding presence which assists in the telling of a story but, on the other hand, I responded warmly to his secure technique, vocal timbre and natural delivery. The Finnish contralto Monica Groop is a comparative newcomer. I first heard her in London last year when she took part in a commemoration concert for the late Paul Steinitz, but did not expect to hear her again so soon. She has a finely controlled technique and a very beautiful voice free from excessive or gratuitous vibrato but none the less warmly expressive; her ''Schlafe, mein Liebster'' (Part II) is well-sustained and tenderly sung. This is a voice I shall want to hear again in the oratorio and cantata repertory. The soprano Ruth Ziesak has an attractive, youthful voice and a technique which enables her to find the centre of notes with ease. Her duet with the bass, Klaus Mertens, ''Herr, dein Mitleid'' (Part III) is splendidly animated and crisply articulated by singers and oboes d'amore alike. The brisk but not too brisk tempo knocks a full minute off Nikolaus Harnoncourt's by no means sluggardly pace (Teldec). Ziesak's ''Flosst, mein Heiland'' (Part IV) is also sung with a beguiling innocence and tonal purity, ably partnered by the oboist.
Other elements in the performance, as I have said, are variable. The obbligato playing is generally of a high standard with especially satisfying contributions from the oboes and first violin whose solo in the alto aria ''Schliesse, mein Herze'' (Part III) is beautifully shaped, effectively punctuated and sensitively played. The Frankfurt Vocal Ensemble (24 voices) is capable of rising to the occasion but does not always do so. I often felt the need for more sparkle and, in some instances such as the choruses ''Lasset uns nun gehen gen Bethlehem'' (Part III) and ''Herr, wenn die stolzen Feinde schnauben'' (Part VI) more homogeneity of sound and technical finesse. Chorales, on the other hand, come over well and in general I liked the fresh sound projected by the upper voices. Tempos are generally brisk and effective though I found ''Ehre sei dir, Gott'' (Part V) a shade too fast, yet clearly articulated all the same, and thankfully not quite as quickly despatched as in John Eliot Gardiner's Archiv Produktion version. Continuo support is tasteful and includes a lute as well as cellos, bass, organ and harpsichord. Bach only once specified lutes as a continuo instrument, that being in his Trauer-Ode (BWV198), but their presence in the Oratorio is effective and we might reasonably suppose that he would at least have given it a nod of acceptance if not of approval.
To sum up, this is a performance which possesses many more virtues than shortcomings. If a few details had been tidied up, especially in the first two cantatas, then it would have been very good indeed; as it is, it falls just short of that. In spite of weaknesses my first choice remains the mid-price Deutsche Harmonia Mundi version with the Tolz Boys' Choir under the direction of Gerhard Schmidt-Gaden in which the soprano and alto solos are sung by boys. But the new set is clearly recorded, includes full texts in German and English, and is well worth considering.'