Sigiswald Kuijken’s thoughtful and measured St John presents quite a contrast to two recent readings, from the comparatively uneventful Nico van der Meel and the collective emotional impact of Alexander Weimann. In the booklet, Kuijken discusses his usual perspective on the benefits of a one-to-a-part vocal ensemble – sounding rather well-worn in prose but, in his experienced hands, often disarmingly affecting in practice. More interesting reading is the rationale for opting for the original and more established version of the Passion, and not the one with Bach’s 1725 tinkerings which van der Meel selects.

The distinctiveness of Kuijken’s Johannine vision in this recent glut of recordings lies in the patient attention to rhetorical detail and the refinement of its evolution. Some may prefer the muscular dramatics of John Eliot Gardiner (or indeed Weimann) over this gentler, more intimate and conversational commentary. Yet there is no doubting the validity of this almost theological approach, where the narrative drama is effectively consumed by the underlying message. Never is this more obvious than at the start of Part 2, when the assuaging ‘Erwäge’ becomes the fulcrum for the graphic action either side.

The deft pacing of Christoph Genz’s penetrating Evangelist includes highly effective dovetailing of dialogue between individual personae, the Evangelist and the crowd. The arias thus become discrete ‘mini-scenas’ (such as ‘Eilt’, with its snappy choral rejoinders). While the soloists may not all shine in conventional vocal terms, compelling atmosphere is brought to ‘Ich folge’ as Gerlinde Sämann rolls out its delighting discipleship – and also delivers ‘Zerfliesse’ with equal beauty. ‘Es is vollbracht!’ is notable for Kuijken’s exquisite gamba-playing around the shimmering Petra Noskaiová, keeping a dignified distance from any tempting indulgence.

Likewise, the corporate, unsentimental singing of chorales (apart from ‘Ruht wohl’ and the final chorale, which are surprisingly sour), soft-grained instrumental commentaries and a highly responsive continuo team all conspire to form a critically focused and eloquent new account. Unlike his recent Mass in B minor (8/09), Kuijken reveals a far more gratifying perspective of where less is more – physically and emotionally.