As Masaaki Suzuki’s deeply considered journey through Bach’s cantatas moves towards the core of his celebrated chorale cantata cycle (or second ‘Jahrgang’), the themes of these three works are drawn from the wide-ranging Trinity gospels, concerning man’s quest for salvation through repentance and preparation for death. Bach explores the conceit of each piece by using his material far more economically than he had done to date in Leipzig or Weimar. Still, not every work in the cycle rises to the heights of Liebster Gott (No 8) in its touching coloration or in the structural strength of the chorale which can truly liberate the imagination beyond technical mastery.Suzuki’s approach to Liebster Gott is surprisingly short on contemplative resonance given its atmospheric texture of oboi d’amore, a colla parte horn with the chorale, strings and the imagery of a funereal ticking clock – ‘When shall I die, my time ever runs on’ – effected by a compelling flute line of delicate repeated notes. Where Bach is radiant but sombre, Suzuki is little more than efficient. I returned to the exquisitely turned performance of Philippe Herreweghe and the imploring world of Fritz Werner (Erato, 5/95 – nla). Suzuki does, however, provide a later version of the opening movement as an appendix, re-scored less glowingly by Bach and transposed down a tone to cater for a less proficient ensemble in the 1740s.

If this performance fails to live up to high expectations, the energy, subtlety and balance found in Suzuki’s account of Allein zu dir (No 33) is compelling enough: Bach Collegium Japan relish the buzzing ripieno concerto which frenetically and hopefully circumnavigates the chorale in this splendid fantasia. Here, too, is one of Bach’s most memorable arias, ‘Wie furchtsam’, where muted violins depict the trepidation of man moving gingerly towards the Day of Judgement. Robin Blaze’s countertenor is regularly a joy in Bach and he sings here with an affectionate, soft-grained lyricism. So, too, does Gerd Türk in ‘Jesus nimmt’ from No 113 (pitch had deserted him in his aria in No 8) where the vital flute playing of Liliko Maeda again impresses. Despite the disappointment of No 8, Suzuki makes his mark with a consistently high yield elsewhere.

As we are about half-way through the series, it will be interesting to see if Suzuki’s luminous and reverential approach can bring enough differentiated personality to the maturing cantatas.