These are lively performances of Bach's Coffee and Peasant Cantatas. Emma Kirkby and David Thomas make up a vital partnership both in opposition and in harmony; and they are backed up by rhythmic instrumental support which brings to life Bach's subtle and extremely varied characterization. In the Peasant Cantata David Thomas's mazurka, ''Funfzig Taler bares Geld'', is splendidly robust with just the right amount of coarse philosophy in his voice; and his toast to the new lord of the manor, ''Es nehme zehntausend Dukaten der Kammerherr alle Tag'ein!'', has a good earthy ring to it, further coloured by exhilaratingly resonant horn playing by Anthony Halstead.
The young man's girlfriend is capable of greater sophistication of thought and the contrast between them is highlighted in arias such as that which incorporates the famous La folia melody, ''Unser trefflicher lieber Kammerherr'' and the da capo aria with flute obbligato, ''Klein-Zschocher musse''. Christopher Hogwood captures the character of the folia sarabande with an easy and natural grace which I found especially affecting. In fact, as I have already implied, his intuitive feeling for effective rhythm is a marked feature in both of these cantatas and can be strongly felt, for instance, in the rapidly changing metres of the instrumental Sinfonia.
In the Coffee Cantata, soprano and bass are joined by a narrator sung by Rogers Covey-Crump. The story is a slender one of a humourless father's opposition to his daughter's propensity for drinking the newly fashionable beverage. The music, however, is of a very high order and full of aromatic insights to the characters of both father and daughter. David Thomas convincingly and entertainingly brings to life the mirthless, leaden-footed disposition of this paterfamilias and his account of the chromatic continuo aria, ''Madchen, die von harten Sinnen'', captures that heavy and seemingly interminable prolixity that used to be the inevitable and inescapable corollary to a bad school report. Emma Kirkby's lyrical siciliano, ''Heute noch'', provides a wonderfully fresh contrast with the bass arias, just as Bach intended and I found her performance enchanting; the solo flautist here and elsewhere in the two cantatas is Lisa Beznosiuk, whose warm tone and clear articulation further enhance these delightful interpretations. The concluding trio, a bourree, for father, daughter and narrator, is evenly balanced and very well sung, providing a happy conclusion to a satisfying performance.
In short, I've enjoyed this approach to Bach's Peasant and Coffee Cantatas more than the three previous issues that have appeared on CD (Philips, Hungaroton and Meridian). Christopher Hogwood has an informed stylistic approach which is shared by all three of the singers and they bring to both works just the right degree of dramatic characterization; too much, or too little can have a markedly adverse effect on music which requires imaginative but also restrained artistry. Hogwood directs an ensemble of single strings but, as I remarked in the recently issued version of these works by the Friends of Apollo (Meridian Cass KE84110; CD ECD84110, 10/86—not available on LP), I'd have welcomed an extra violin on occasion. The recorded sound is good on the LP without being outstanding (I experienced a moment of loud distortion during the final recitative of the Peasant cantata). I'm not sure what to think about the cover photograph; Emma Kirkby's lace cap may require some getting used to.'