Such a disc as this one provides an alluring shop window for Teldec's complete Bach cantata series, recently completed by Nikolaus Harnoncourt and Gustav Leonhardt. It is also an attractive programme in its own right. Bach's sacred cantatas are plentifully endowed with vocal duets and the present release offers only a selection from them. The common factor is the baritone Thomas Hampson, who is variously partnered by some of the many talented boy trebles who made such a distinctive contribution to the complete edition, and the tenor Kurt Equiluz. Hampson joined the team only when the series was two-thirds complete, so no cantatas numerically lower than No. 140 feature here. There is, therefore, a strong case for issuing similar programmes with Paul Esswood, Equiluz and Max van Egmond, who provided the real mainstay of the project. But meanwhile Hampson offers the listener an opportunity of becoming acquainted with some of the duets and bass arias contained in Cantatas Nos. 140-196, all of which are lifted from the existing series rather than recorded afresh.
Musically there are no disappointments—that hardly need be said—and for the most part the performances are commendable in matters of style and in appropriate esprit if not always in finesse. Bach made no concessions in his demands on all strands of the vocal texture, but sopranos, perhaps, suffer most of all and the treble voices, excellent though they are, do not always get the better of his intricate and amply spun-out lines. The best-known pieces in the programme are the two duets from Wachet auf, ruft uns die Stimme (No. 140) which come first on the disc. Much else here will seem comparatively unfamiliar to all but the most seasoned Bach cantata enthusiast. One of those which comes off best is the supple duet for tenor and bass from No. 146. Equiluz and Hampson are evenly matched and Harnoncourt sets an ideal tempo.
While this isn't, for me, a substitute for the cantatas in their glorious completeness, if it draws unsuspecting listeners into Bach's wonderland the disc has fulfilled its purpose and more. No texts, alas, are included in the booklet though the accompanying note provides some useful sign- posts to travellers in a strange land. Hampson, I should add, sang only in Harnoncourt's performances so Leonhardt, the other side of the coin so to speak, is unrepresented. That imbalance, too, needs to be addressed in a much to be hoped for sequel. Fine recorded sound.'