Bach: Cantatas, Vol 5 (BWV 18, 152, 155, 161, 143) /Bach Collegium Japan * Suzuki
The striking thing about the works on volume 5 of the Bach Collegium  Japan's Cantatas series is their unusual instrumentation. Cantata No. 18 uses  only four violas and continuo; No. 152 calls for only soprano and bass soloists,  with recorder, viola d'amore, oboe, and viola da gamba (and without violins or  cellos); and No. 155 has a normal complement of strings, but features an  alto/tenor duet with, of all things,obbligatobassoon. Cantata No. 161  also uses a normal string group, along with two recorders; it's famous partly  because of its title,Komm du süsse Todesstunde("Come, thou sweet  hour of death"), but also because the surprisingly gentle titular aria (for alto  and recorders) beautifully manifests the Lutheran view of death as the welcome  opportunity to join Christ in heaven. The festive New Year's Day cantata No.  143,Lobe den herrn, meine Seele("Praise the Lord, O my soul"), the only  work on the disc with a substantial part for chorus, adds to the usual strings  and continuo three high-pitched hunting horns and timpani; while the choir and  orchestra could cut loose a bit more, they perform with good cheer, as well as  skill. Yet this volume is really a chance for the soloists to shine--and shine  they do. Midori Suzuki's pure boy-like soprano sounds a bit fragile and strained  this time around, but she sings with plenty of feeling. Countertenor Yoshikazu  Mera and bass Peter Kooy are, as always, eloquent, musical, and pleasing to the  ear--as is tenor Makoto Sakurada, whose light, clear tone and sensitive delivery  make for a performance worthy to stand beside those of his better-known  colleagues.--Matthew Westphal