This recording of the popular Jauchzet Gott solo cantata (first performed in 1730 but seemingly using earlier material in its first three movements) differs from that by Gardiner in adopting a later version of the text, and by employing a mere seven strings, plus organ continuo and obbligato trumpet, in accordance with Joshua Rifkin's conviction that the extant instrumental (and vocal) material implied one performer per part, except in the case of the violins. In the opening movement the result sounds a bit thin, with the admirably played trumpet needing firmer string backing (especially in the bass line); but by the end of the work (where alone the full forces reappear) the balance seems more satisfactory. Julianne Baird, a bright, pure-toned soprano, is splendidly accurate in the virtuoso vocal part, but Rifkin's very deliberate pace for the opening conveys little suggestion of the text's joyful acclamation, which emerges so well in the Kirkby/Gardiner version on Philips. On the other hand, the final chorale and ''Alleluja'' here are much superior both for the interplay of the canonic violin parts and for not being rushed, the change from 3/4 to 2/4 smoothly and evenly managed instead of slamming into overdrive.
There is an attractive buoyancy about Wachet auf (which dates from 1731), all the more apt since it centres on the joy of a bride and bridegroom (albeit a heavenly one); and the penultimate movement, a duet with oboe obbligato, is altogether delightful. Nevertheless, some reservations again have to be voiced about balance: the violin and oboe lines in the opening chorus (sung here, of course, by four soloists) do not always come through the background of dotted figures sufficiently, and in the first duet the violino piccolo is often too insubstantial in relation to the bass line. Subject to correction from better informed scholars. I question the rightness of a continuo, when a bass note is played short, not making a subsequent change of harmony (as in the first two bars of the No. 2 recitative). With greater certainty I deplore Baird separating an adjective from its noun at ''brennenden Oele'', and I find inappropriate Jeffrey Thomas's treatment of the familiar chorale melody by detaching each note from the next. Otherwise this is a pleasurable performance.'