Frans Brüggen follows the first version of 1724. The opening chorus, “Herr, unser Herrscher” is very fine. The repeated bass notes of the introduction are marked rather than emphasised but there’s still an inexorability to the phrasing, with an impassioned crescendo leading up to the entry of the chorus. From time to time, notably at 5'47", the mournful oboe of Frank de Bruine cuts through the texture. Brüggen slows down for the cadence at the end of the “A” section rather than pushing on, which might disconcert some listeners.

It’s not all as memorable as that. The chorus accusing Peter of being one of the disciples has a feeling of suppressed excitement and “Weg, weg mit dem” is properly vigorous; but the chorus preceding the latter is bland and, earlier still, the chromatic baying of “Wir dürfen niemand töten” lacks fierceness.

The soloists are a mixed bag. As the Evangelist, Markus Schäfer paces the recitatives well, his tone reminiscent of Peter Schreier’s: he is spirited in the lead-up to “Nicht diesen, sondern Barrabam”, and he doesn’t make too much of a meal out of Peter’s denial. If his fellow tenor, Marcel Beekman, sounds hectic in “Ach mein Sinn”, it’s a quality that makes “Erwäge” more endurable than usual. Carolyn Sampson dispatches her two arias in style, “Zerfliesse, mein Herze” being particularly limpid. “Es ist vollbracht” is extremely slow but Michael Chance sustains his line fearlessly.

The recording, taken from performances in three different cities, is poorly balanced in places; and in what must be a recording producer’s nightmare, the fifth line of the chorale “In meines Herzens Grunde” is missing.