Recorded on Whit Sunday and Monday in 2000, these irresistible cantatas display a whole range of moods: from the unalloyed optimism and exhuberance of BWV 172 to the tactful restraint of the opening of BWV 59. In the grand, eight-movement BWV 74, Bach is clearly roused by imagery of Satan attempting to curse and obstruct the believer, and introduces extreme modluations an jangling cross-accents in the tenor aria. The alto aria in the same cantata stands out for its graphic description of Hell, and Bach unapologetically borrows techniques from the opera house to entertain a theatrically-deprived audience while serving an impeccable theological purpose. The set also includes the superb BWV 34, an exceptionally late work from the 1740s, with its enormously satisfying choral overture, which generates colossal energy and elation in performance.

Track Listing
BWV 34 - O ewiges Feuer, o Ursprung der Liebe
BWV 59 - Wer mich liebet, der wird mein Wort halten I
BWV 68 - Also hat Gott die Welt geliebt
BWV 74 - Wer mich liebet, der wird mein Wort halten II
BWV 172 - Erschallet, ihr Lieder, erklinget, ihr Saiten!
BWV 173 - Erhöhtes Fleisch und Blut
BWV 174 - Ich liebe den Höchsten von gansem Gemüte