Some of Bach’s most personal voyages of discovery can be found in his cantatas for solo voice, and none more so than those for the alto. Nos 54 and 170 are particularly celebrated among contraltos and countertenors for their highly satisfying, idiomatic writing. Marianne Beate Kielland provides the latest addition to a wide-ranging catalogue of readings from the bell-like Alfred Deller to the purple-clad timbre of Nathalie Stutzmann.

Kielland operates obediently around the highly regulated ‘Baroque’ style which makes the Cologne Chamber Orchestra a disciplined but also fairly unyielding group of players. Warmth and personality filter through occasionally, especially in the vibrant final movements and the spurious but touching funeral aria of Cantata No 53, but Kielland’s voice is not adequately equipped to enrich the heartfelt imagery of No 54: despite a beautifully contained string sound, the singer ploughs through what should be an intimate and responsive catharsis of sin.

More relaxed and effective is the account of No 169, whose Sinfonia is framed as an organ concerto and movement (later to become the E major Harpsichord Concerto, BWV 1053), with soloist Harald Hoerren offering his considerable contribution with a genial diffidence. Kielland fares better here but the singing is not really interesting or accomplished enough for Bach in this mood.