Ton Koopman’s slow-burning project to record Buxtehude’s complete works continues its inexorable path with eight little-known geistliche Konzerte (sacred concertos). Half of these are for solo voice and instrumental ensemble, and range in scale and sonority from intimate music accompanied frugally by two violins and basso continuo to the lavish Ich bin die Auferstehung und das Leben, in which the compassionate singing of Klaus Mertens is accompanied by five-part strings, dulcian, two cornettos and two trumpets; Koopman also adds a regal and an improvised timpani part, although maybe the former has an over-exaggerated impact on the concluding ‘Alleluia’. The only other recording available is part of a spectacular programme by Göteborg Baroque (Footprint, 2007), which, albeit boomy in sound and less smoothly sung, is played with tremendous spirit (and without additives).

Koopman enthuses that he and his continuo accomplices ‘zestfully enliven the festive character’ of the Italianate Jesu, dulcis memoria, which is sung eloquently by Mertens, Bogna Bartosz and Jörg Dürmüller. The virtues of the trio’s consort singing outweigh some flat tuning from Bartosz during the poignant strophic aria Jesu, komm, mein Trost und Lachen. It is fascinating to compare Buxtehude’s two different settings of Herr, wenn ich nur dich habe, both for solo soprano, two violins and continuo: the florid lines of the longer piece are sung lightly by Miriam Meyer, whereas Siri Karoline Thornhill possesses a darker timbre in a shorter ciaccona setting. The Amsterdam Baroque Orchestra’s playing, in particular the shapely violin ritornelli, is delightful. The series, now reaching its 14th volume, continues to offer plenty of enrichment.