Volume 11 of BIS's cantata series gives us four more examples from Bach's first annual cycle in Leipzig. Despite their relatively narrow time span (July...

Volume 11 of BIS's cantata series gives us four more examples from Bach's first annual cycle in Leipzig. Despite their relatively narrow time span (July to September 1723) and the consequent pressure that it imposed on Bach, there's no suggestion of formula, either in structure or in content, linking these cantatas. And although none of them is particularly well known, each is memorable in its own right. In a list of highlights, one might cite the alto aria with oboe d'amore of BWV 136; the opening chorale and recitative (also countertenor) of BWV 138; the tenor aria, "Ach schlage doch," with its characteristic imitations of bells, of BWV 95; and BWV 46's somber opening chorus (later reworked as the "Qui tollis" of the B-Minor Mass). It goes without saying that such a list would be incomplete.

As always, conductor Suzuki has assembled an fine quartet of soloists, with the ever-reliable Kooij and the marvelous Midori Suzuki at the bottom and top, respectively, and tenor Sakurada again stepping out of the chorus to prove his considerable mettle. New to the series is the outstanding German countertenor Kai Wessel, who has been prominently featured in the Koopman series as well. Suzuki's thoughtful direction and the splendid singing and playing of the Bach Collegium Japan have become givens in the series. Exemplary notes (Taasashi Isoyama shares the duties with Suzuki) and BIS's customarily excellent engineering complete the package.

This latest installment in an eminent ongoing project is self-recommending, but deservedly so.

-- George Chien, FANFARE