As the forces named on the cover imply, this is a one-voice-per-part and also a one-instrument-per-part, performance, with the quartet of soloists taking choruses, chorales, and solo sections alike, and the string parts also reduced to a single instrument each. The jury is still out on this American-originated approach, which has gained adherents as well in the Bach heartland of northern Germany. Now a group of well-known English Baroque players and singers has put its own national spin on the procedure in a series devoted ...
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As the forces named on the cover imply, this is a one-voice-per-part and also a one-instrument-per-part, performance, with the quartet of soloists taking choruses, chorales, and solo sections alike, and the string parts also reduced to a single instrument each. The jury is still out on this American-originated approach, which has gained adherents as well in the Bach heartland of northern Germany. Now a group of well-known English Baroque players and singers has put its own national spin on the procedure in a series devoted to the cantatas from early in Bach's career. This release, the third in the series, is also the second of a pair devoted to Bach's years in Weimar. Although there are two discs, the program is barely longer than what would have fit on a single disc. The order of events makes sense, with two large-ensemble works enclosing the more intimate Cantata No. 182, "Himmelskönig, sei willkommen" (King of Heaven, be welcome), BWV 182. The one-voice-per-part mode comes off as particularly...
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