This is the second of Thomas Quasthoff’s Bach collaborations with this period-informed, modern-instrument ensemble, following a highly personal and distinctive disc of the great solo bass cantatas (1/05). “Dialogue Cantatas” with soprano Dorothea Röschmann is generally a less enduring affair, although it contains moments of infectious immediacy and genuine insight.

Bachians have long celebrated the richness of the Yuletide cantata Selig ist der Mann, where one fine aria follows another as the librettist uses St Stephen’s martyrdom as an emblem of sacrifice and ultimate reward. Bach relishes the interaction between the Soul and Christ, especially when the final aria comes to a surprisingly abrupt halt on “what is your gift to me?”, at which point the chorale answers with a beguiling invitation to discipleship.

Quasthoff takes a little time to find his bearings here. His unsure intonation and presence are unrecognisable from the compellingly visceral and engaged passagi of “Ja, ja, ich kann die Feinde schlagen”, in which the singer (Vox Christi) scatters the insolent foe for the fearful Soul. While Röschmann delivers performances of repeated colour, subtle nuancing and commanding shape in the little-known BWV152, Quasthoff again falls short of his best.

Alongside the spontaneous “hauteur” of Elly Ameling and Hermann Prey (for Helmut Winschermann – Philips, nla) and the deeply moving account with Agnes Giebel and Barry McDaniel (for Werner – Erato, 1/05), this BWV57 is not a serious contender. The chirpy Ich geh und suche mit verlangen (BWV49) is slightly more successful in its sense of interaction but even Röschmann rather gets the blues here also. Go to Christophe Coin (Astrée – nla) to hear this quietly ingenious piece in its most uplifting and sympathetic guise.