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With just eight singers and a small orchestra, craftily captured in a manner suggesting appropriately dry acoustics, these performances come very close to what one imagines the actual sound of a liturgical performance in 18th-century Leipzig might have been. intimacy and clarity lay bare the genius of a composer who could combine intricacy and directness in one gesture. Both the singing and playing are characterised by a leggiero elegance that serves this lovely, neglected repertoire extremely well and one marvels, yet again, at Bach’s supreme ability to make high-art and humble prayer so convincingly simultaneous.

REBECCA TAVENER Read the full review on Agora Classica


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