Those who lament the austere, dispassionate, "scholarly" approach that more often than not informs today's original-instrument performances of Bach cantatas will find much to rejoice...

Those who lament the austere, dispassionate, "scholarly" approach that more often than not informs today's original-instrument performances of Bach cantatas will find much to rejoice in Masaaki Suzuki's grand and heartfelt, if not overly devotional conceptions. For instance, as you listen to the opening Sinfonia of Christ lag in Todesbanden you're immediately struck by the emotive delicacy of the string playing and how perfectly it introduces the subject's necessary resolve and sadness. Moments later when the chorus enters and the momentum shifts, the urgency of the ensemble likewise changes to deftly communicate just the right measure of boldness and hope. Throughout the piece Suzuki's uncanny ability to extract every nuance from Bach's sublime score recalls the efforts of Karl Richter, Günther Ramin, Fritz Werner, Karl Ristenpart, and Helmut Winschermann--bygone patricians of this repertoire who were equally considerate of the music's every emotion, from deepest angst to overwhelming joy. Though BWV 4 is one of Bach's most famous and oft-recorded cantatas, Suzuki's rendering of it ranks with the very best.

The two other cantatas offered--Nacht dir, Herr, verlanget mich BWV 150 and Der Herr denket an uns BWV 196--also receive outstanding performances. In BWV 150, soprano Yumiko Kurisu's seamless and spirited rendering of the aria "Doch bin und bleibe ich vergnügt" is a marvel, as is the fifth-movement trio "Zedern müssen von den Winden", expertly performed by countertenor Akira Tachikawa, tenor Koki Katano, and veteran Dutch bass Peter Kooy. Also noteworthy is Suzuki's brilliant negotiation of the complex rhythms of the chorale "Meine Augen sehen stets zu dem herren", imparting a rarely heard uplifting quality to the setting. BWV 196 is highlighted by the final chorale "Ihr seid die Gesegneten", where Suzuki's sensibly dignified conclusion impresses more favorably than the overly exuberant let's-get-it-over-with treatment Konrad Junghänel and the Cantus Cölln offer in their fairly recent Harmonia Mundi recording (type Q1384 in Search Reviews).

BIS's sound is of audiophile quality, with an expansive yet detailed sound stage that spectacularly complements Suzuki's grand realization. As Volume 1 in a complete traversal of Bach's sacred and secular cantatas, this auspicious entry offers the promise of an extraordinary and very important cycle that shouldn't be missed by anyone who loves these works. This is the kind of Bach rarely heard anymore--performances that make you want to devote time to them, to listen at lifelike levels and follow the text religiously.
-- ClassicsToday.com