cycle of cantatas, he left us with an extraordinary range of solutions for how the chorale can inspire fantasy and invention. Some pieces are magnificent, others darned good and a few (dare one say) a touch severe. Such an example of 'magnificent' is the highly wrought Schmückedich from October 1724, the ne plus ultra cantata for many, where the invitation to the feast provided Bach with radiant images of the hospitality of God's kingdom.
Masaaki Suzuki brings an especially balletic prospect to the opening chorus with strong, driving bass-lines and a dazzling sense of expectancy.
One has never felt so sure of Bach's delight in an exceptional melody. This is counterbalanced by a soft-grained and lucid reading of the tenor aria 'Ermuntre dich' by Makoto Sakurada and then, fleetingly, an accompanied recitative introducing yet another countertenor to the series in the attractive and polished warmth of Timothy Kenworthy-Brown.
More heartening than anything is to hear soprano Yukari Nonoshita developing into a Bach singer of real stature. Both in Schmücke dich and the startlingly original inner movements of Das neugeborne Kindelein she conveys the gentle, compassionate honesty of Agnes Giebel.
Cantata No 96 is a less integrated piece but boasts some dazzling sopranino recorder playing in the opening chorus which Suzuki imbues with indulgent delight in Bach's glorious orchestration. Peter Kooij's 'Bald zur Rechten' deftly imparts the timid and halting steps of the Christian's human vulnerability. Another success chalked up in this riveting series.