There are now four or five highly recommendable readings of Bach's longest oratorio, though no clear leader emerges from those cultivating a 'period performance' approach. Schmidt-Gaden's 1973 version with Collegium Aureum has become celebrated in the field with its pensive and unrattled spontaneity, reinforced by some outstanding contributions from the Tolz Boys' Choir. However, those who know this meditational account will recall that the instrumental playing needs to be tolerated for its technical imperfections, an alien concept in more recent recordings such as this, where Bach's virtuosic tours de force are tossed off with remarkable nonchalance. Where contemporary recordings have tended to fall short is in projecting a clear understanding of the work's dichotomy: the fine line, in Bach's most unique perception of 'oratorio', between a unified Christmas piece and a series of six separate cantatas which share a liturgical theme. Bach evidently had a deliberate plan to maximize his efforts by reworking some of his most grandiloquent secular music. Integration came in the form of six particularly compact biblical scenes, a clear overall tonal scheme and some melodic references from one cantata to the next. By exploiting the liturgical proximity of the Feasts between Christmas Day and Epiphany, Bach could turn an annual task into a project of grander proportions.
If the work demands less in terms of dramatic tension and narrative momentum than a Passion or 'operatic' oratorio, then a more abstract vision is required to provide a satisfying balance between the cohesion and autonomy of the six parts. This is definitely one of Harry Christophers' strengths. He judges the pace of the oratorio with the same attention and conviction as he does Handel's Messiah, a work which holds together more convincingly under his direction than under any other current practitioner. The Christmas Oratorio swings radically between the fervent and the devotional and his tempos enable the tableaux to unfold naturally and without spurious gear changes. The opening chorus glistens without the over-accentuation which can destroy the line but as with all the brisk concerted movements, the recorded sound is boxy and ill-defined. The same is true of the radiant first chorus of Part Six where the mellifluous solo trumpet lines, providing vital counterpoint, are barely discernible. I'm afraid this affects a number of other movements too, where voices and instruments produce muddy textures: ''Ehre sei Gott'' at the end of Part Two and its near-namesake, ''Ehre sei dir Gott'' in Part Five lack clarity in the soprano line and the long, searing oboe notes in both movements never emerge cleanly as they do, to such brilliant effect, with both Herreweghe and Gardiner. The oboes and trumpets play such a crucial part in the colouring of Bach's Christmas story that their blurred perspective is especially regrettable here.
Overall the slower music is captured better and there is some memorable singing from soloists and The Sixteen alike. Mark Padmore is a sensitive Evangelist whose exceptional intonation helps to capture the fresh anticipation of Christ's birth. He sings the arias too, not unusual in this piece but all things considered I prefer a second tenor for tonal contrast. Padmore sings the arias with precision and airiness but perhaps not the lyricism required to do them full justice. Likewise, there is some very stylish singing from Lynda Russell and Catherine Wyn-Rogers yet it often lacks the concentrated intensity likely to inspire the listener over long periods. Not all the problems are of their own making: Wyn-Rogers barely has a chance to settle in ''Schlafe, mein Liebster'', so intrusive is the harpsichord, though her singing in the Passion-like chorus and recitative, ''Wo ist der neugeborne'', is exceptionally moving. Russell and Michael George make a fine team in the cathartic ''Herr dein Mitleid'' (Part Three) supported by some ravishingly articulated oboe playing. There are many other delectable moments and none more so than the most grateful and supplicatory ''Falt mit Danken'' (Part Four) you could ever wish to hear. The Sixteen are beautifully blended here and in the chorales too their mellow and intimate sound is lovingly exposed. Taken as a whole then, there are several features to admire here including Christophers's willingness to let the music breathe. The performance is not as immaculate or dazzling as Gardiner's nor as elegant and refined as Herreweghe's but the spirit is there for an inspirational reading. Sadly, the claustrophobic sound- perspective is too major a drawback for this recording to compete in the top flight.'