My review of volume 1 of this series appeared in Fanfare 26:6, at which time I praised the performances, finding them to be of “the...

My review of volume 1 of this series appeared in Fanfare 26:6, at which time I praised the performances, finding them to be of “the highest quality.” This second generously timed issue follows a similar format in presenting a group of cantatas, or more accurately sacred concertos, in the chamber form intended by the composer. There is a greater emphasis this time on solo works, no fewer than four falling into that category, with the lion’s share going to tenor Charles Daniels. BuxWV 92 is also included on a Stylus Phantasticus disc, but Daniels’s approach is markedly different to that of Victor Torres, his slower tempo emphasizing the heaviness of the soul as it seeks refreshment rather than the exultation of the climax. Both BuxWV 71 and BuxWV 37 are also scored for solo tenor, the first being a dignified setting of the familiar words from the opening verses of Psalm 103, Lobe den Herrn (“Praise the Lord”), the ritornello Sonata of which is particularly lavishly scored in six parts (three violins, two violas, and violone with continuo). BuxWV 37 is a version of the Nunc Dimittis, Buxtehude treating the aged Simeon’s words not as a valediction, but a joyous revelation culminating in gigue-like dance. In all three works, Daniels’s distinctive high tenor is deployed with rare musical intelligence and insight.

Dixit Dominus is a rather more interesting work than Stephen Rose’s rather dismissive mention in the notes might suggest. Scored for solo soprano (Emma Kirkby singing with her customary command of technique) and a five-part string ensemble, it is notable for the unusual degree of rhetorical Affekt Buxtehude conjures up from the familiar text of the Vespers psalm, which is simply set in arioso style with the voice largely supported by organ continuo, the soloist’s lines being echoed or commented upon by the strings. Of the ensemble works, the most striking is perhaps An filius non est Dei, a Passion-tide work scored for alto, tenor, and bass, its reflective character underlined by the richly-hued accompaniment for two gambas and violone. The performance is one of the highlights of the disc, with Michael Chance, Daniels, and Peter Harvey combining to form a splendidly integrated trio that extracts full expressive value from the poignant text. Chance indeed sounds happier here than he does with the low-lying tessitura of BuxWV 77, which he negotiated with greater assurance on Ton Koopman’s legendary Erato set (ECD 75374) of cantatas in 1987.

As with the earlier disc, I would have preferred a rather less smooth tone from the Purcell Quartet’s strings, but there is little other cause for complaint. This is a further indispensable addition to a storehouse of inexhaustible riches that lay virtually untouched until Koopman’s pioneering recording, which really should be restored to the catalog.

FANFARE: Brian Robins