Reprehensibly‚ Harmonia Mundi has omitted the identifying TWV numbers. They are needed‚ because though Peter Wollny in the booklet states that four of these cantatas ‘probably come for the most part from his schoolboy and student years in Hildesheim and Leipzig’ (1697­1705)‚ there are other versions of the same texts. New Grove (2nd Edition) lists four settings – one a fragment – of Trauer­Actus (this setting is TWV1:38)‚ three of Ach Herr‚ strafe mich nicht (TWV7:3)‚ two of Sei getreu bis in den Tod (TWV1:1284) and three of Schaffe in mir Gott (TWV 1:1241). Exceptionally‚ Du Aber Daniel‚ gehe hin (TWV4:17) is a lone work‚ probably composed after 1708‚ and an exceptionally fine one it is‚ too. The opening Sonata – for recorder‚ oboe‚ two violas da gamba‚ strings and continuo with chorus – illustrates not only the composer’s ingenuity but also the fetching quality of the playing. And throughout it is the instrumentalists‚ in whatever combination required‚ who are consistently outstanding. In addition to the organ‚ Telemann often specified the lute­like chitarrone for continuo as well‚ and Junghänel‚ a lutenist – though not cited as a performer – can also be heard making discreet but meaningful contributions. The singers blend expertly in the choruses‚ but the balance between choir and band varies. For instance‚ the concerted voices in ‘Tutti’ (track 16) from Trauer­Actus are more forward than usual‚ but their presence is clouded by sibilance. Close miking during some solo appearances also gives a similar effect; and there are instances of poor diction from the soprano‚ Johanna Koslowsky. Despite these flaws‚ all the vocal roles are discerningly characterised and Junghänel’s direction reflects superior judgement about the nature of each piece. Du aber Daniel‚ gehe hin alone is worth the cost of this disc.