Readers who enjoyed Stylus Phantasticus’ superb album Zeichen in Himmel on Alpha, dedicated to Erlebach’s arias and sonatas (see Craig Zeichner’s review in Goldberg 21), will welcome this collection of his church cantatas. There are occasional dull patches, especially in the cheerful, celebratory works, but at its frequent best Erlebach’s music is complex, imaginative and profoundly moving.

Among several highlights, my personal favourite is the cantata Ach daß ich Wassers genug hätte. Erlebach sets this libretto (a collection of Biblical and poetic verses that form an intricate dialogue with each other) with acute sensitivity to the spirit and images of each verse, whilst also creating a satisfyingly convincing whole. There are no recitatives, here or in any of the other works; but Erlebach distinguishes the different “characters” through differing declamation – from discursive, freely-flowing ariosi in many of the Biblical verses to relatively simple, almost symmetric melodies, especially in the poetic stanzas. He also employs contrasting timbres and sophisticated alterations between imitative and more homophonic textures in the choral movements. As expected, Rémy and his musicians are superlative, subtly and vividly underlining Erlebach’s refined and deeply felt musical rhetoric. The chorus consists of the five soloists, who form a well-matched consort as well as giving sensitive readings of their respective solos (I especially enjoyed Dorothee Mields’ delicate soprano and Matthias Vieweg’s characterful bass).

The small orchestra is equally responsive. Some inner lines are obscured by the trumpets in the festive works, but otherwise the recording has clarity, depth and presence. A superb collection. URI GOLOMB