What is it about volume 26 of John Eliot Gardiner's cycle of the complete Bach cantatas that makes it special? Is it the works? All seven cantatas on this two-disc set have their individual beauties, but the last -- Ich liebe den Höchsten von ganzem Gemüte, BWV 174 -- starts with a magnificent Sinfonia based on the opening movement of the Third Brandenburg Concerto, only with oboes, horns, and organ, and thus has the added benefit of instant recognition. Is it the performances? As always, Gardiner obtains a bright tone and ...
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What is it about volume 26 of John Eliot Gardiner's cycle of the complete Bach cantatas that makes it special? Is it the works? All seven cantatas on this two-disc set have their individual beauties, but the last -- Ich liebe den Höchsten von ganzem Gemüte, BWV 174 -- starts with a magnificent Sinfonia based on the opening movement of the Third Brandenburg Concerto, only with oboes, horns, and organ, and thus has the added benefit of instant recognition. Is it the performances? As always, Gardiner obtains a bright tone and a robust performance from the English Baroque Soloists and the Monteverdi Choir, an approach that brings out the best in these seven mostly celebratory works. Or is it the sometimes out-of-tune singing and the occasionally out-of-tune playing? Most of the soloists are fine -- particularly cheerful soprano Lisa Larsson and chesty alto Nathalie Stutzmann -- and some are excellent -- especially soulful tenor Christoph Genz -- but they, along with the choir, do sometimes slip out of...
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