The three works on this new Harmonia Mundi disc were written by Bach at Leipzig for the Ascension festival. Two of them, Nos. 43 and 44, are cantatas, the third, No. 11, the last of three pieces in which Bach contributed to oratorio.
Gott fahret auf mit Jauchzen is resonant in its joyful celebration of Christ's Ascension to Heaven and the right hand of God the Father. The orchestra includes three trumpets, drums and two oboes, as well as the basic string band, and these all play a part in the majestic opening chorus. Philippe Herreweghe and the choir and orchestra of his Collegium Vocale give an eloquently shaped account of this splendid movement, whose noble instrumental introduction leads to an athletic and declamatory alla breve. Perhaps I should have liked a little more in the way of assertive vocal projection, but the character of the piece is effectively conveyed, all the same. The two following numbers, a recitative and aria for tenor, are inspired settings of the text, fervently proclaiming God's triumph. Christoph Pregardien handles them with insight, bringing his secure technique to bear on some demanding vocal writing. Equally accomplished is Peter Kooy, who is on dazzling form in his florid accompagnato and aria with trumpet.
By comparison, Sie werden euch in den Bann tun is a modestly conceived piece, requiring in addition to four soloists and choir a small instrumental ensemble of strings and continuo with a pair of oboes. Herreweghe enlivens the music with many little insights, treating Bach's more contemplative music with sensitivity. Barbara Schlick and Catherine Patriasz each have a da capo aria, while tenor and bass share a canonic duet. On the whole, these soloists bring more charm and gracefulness to the cantata than any other performance that I know of.
The Ascension 'Oratorio' (No. 11), though listed among Bach's cantatas, is an oratorio in more than just name, making use of a narrator who relates the events surrounding Christ's Ascension. Like Bach's two other oratorios, this one makes extensive use of music which had previously been written for other contexts. It also contains the music which eventually was to become the Agnus Dei of the B minor Mass. Herreweghe paces the work with assurance and fluency, but above all is supported by the sheer excellence of his singers and instrumentalists. In this work I must single out the beautiful contribution of Patriasz, the colour of whose voice, somewhat recalling that of Helen Watts, is admirably suited to the character of the profoundly contemplative ''Ach bleibe doch, mein liebstes Leben''.
All in all, then, a considerable achievement and a notable addition to Herreweghe's already impressive Bach cantata discography. Fine recorded sound and an informative booklet set the seal on an accomplished issue.'