Until quite recently, only one or two versions showed off these remarkable tours de force to anything approaching what is now considered a presentable standard. With fine readings from Harnoncourt, Kuijken, Koopman, Herreweghe, Jacobs and Marlow, the question is not whether the notes are in the right place – which, incidentally, they are, despite a tendency for slight flatness in the upper voices – but whether Bach’s spellbinding invention, from work to work, is understood as serving the profoundly personal nature of the texts.
By and large, The Scholars Baroque Ensemble’s most successful movements are those where, it seems almost by accident, the conceit of the moment is acutely captured and worked. The final movement of Singet dem Herrn and the chorale paraphrases in Der Geist are two cases in point. The main sticking point here concerns artistic direction. The group’s policy is to make interpretative decisions alla democratica as a commendable reaction against the excesses of autocracy, although consensus only goes so far. Whilst vigorous and uniform ensemble and, at best, a telling consort-like intimacy (as in Jesu, meine Freude) transpires, what one misses is the subtlety of colouring and shape of the most distinguished versions; for good or for bad, these are the ones with strong artistic leadership and consequently a far fuller and more focused expressive range. The Scholars Baroque Ensemble are undoubtedly a group of fine singers but Bach’s Motets are especially rich meat and too much gets overlooked by lateral musicianship. Many enjoyable moments here but not a front runner.'