Each of the seven cantatas in Membra Jesu nostri (1680) is an affecting contemplation of the crucified Christ’s body, starting from the feet and progressing up to the head. After Cantus Cölln’s grandly controlled slow chords, the contrapuntal core of the opening chorus ‘Ecce super montes’ (Ad pedes) is quicker than is often done, but the lightness in articulation is not incongruous with sincerity. Junghänel’s soloists are not as polished as Harry Christophers’s excellent team in short solo arias but Cantus Cölln’s consort singing is marvellously disciplined. ‘Quid sunt plagae istae’ (Ad manus) is more urgent than I can recall hearing, with a strong sense of rhetorical inquisitiveness.

I only wish that Junghänel had taken a little more time to magnify sentimental elements in Buxtehude’s expressive word-painting. In Ad pectus it would have been rewarding to linger over the compassionate transition from ‘Sicut modo geniti’ into ‘Si tamen gustatis’. The sinfonia in Ad latus is relaxed and free from the violent intensity to which its D minor 6/8 context leads some performers, but soon after Junghänel could have squeezed more sensuality from ‘Surge, amica mea’. While surprising decisions about flowing speeds mark this magnificent performance apart from several other fine versions that take a little longer over emotional moments, Junghänel’s supervision of small details and meticulous use of German-style Latin is customarily excellent. Though a couple of additional voices serve as ripienists for Junghänel, Jos van Veldhoven and the Netherlands Bach Society field exactly five singers (SSATB). Admirers of Veldhoven’s pensive and deeply felt Bach Passions will discover similar qualities here. Solos, ensembles and choruses all bear traces of the performers being permitted more freedom to ponder the meaning of the words and to get inside the lyricism of musical gestures.

Veldhoven’s direction of each cantata’s opening sonata is beautifully measured according to the sentimental subject matter. His five singers match the excellent Cantus Cölln: the consort singing is comparably alert, responsive and dramatic in quick music but Veldhoven better exploits the melancholic passion of each exquisite moment. This generates a stronger impression of eloquence and drama in sections such as a boldly Italianate ‘Quid sunt pagae istae’. Ad cor is the only part that Buxtehude scored for a consort of five violas da gamba, and Veldhoven nurtures its sinewy gravitas to produce a plaintive passion that befits the heart of the cycle. Both new versions of Membra Jesu nostri are magnificent: but Veldhoven’s is the more profoundly absorbing.