Bach's ambition to compose a body of 'well-regulated church music' – liturgical music for the entire church calendar – produced a wealth of sacred cantatas. Around two hundred have survived, and are an eloquent expression of his opinion that 'true music should be for the honour of God and the recreation of the soul'. That comment – made with respect to the art of realising a figured-bass (where harmony is indicated by numbers) – seems appropriate to this collection, since the choice of these glorious works was influenced by a consideration of number symbolism and other extramusical devices. That this most cerebral music touches the emotions so keenly might seem a paradox, but as a performer, analysing the possible thinking behind Bach's musical decisions brings the composer closer. (Peter Harvey, liner notes).

The Magdalena Consort was founded in 2008 by Peter Harvey and is acclaimed for its virtuoso chamber performances of sacred vocal music from Monteverdi to Bach. In addition to using period instruments, the group aims to perform with historically appropriate numbers of players and singers, which encourages the chamber-music approach which is central to its vivid sound. Joshua Rifkin was the first to argue that Bach commonly performed his vocal works with one singer per part, rather than employ a 'choir' in the traditional sense, and it is this approach that the Magdalena Consort adopts. It is fair to say that there is still a healthy debate surrounding the question, but, from a performer's perspective, this approach facilitates communication between the performers so that the counterpoint – the independence of individual musical lines which so strongly characterises Bach's music – can be enjoyed with the maximum freedom. The singers associated with the Magdalena Consort are well established as international soloists, besides having considerable experience of ensemble singing, and the instrumentalists are drawn from some of the world's best-known period instrument orchestras and chamber groups.

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The Europadisc Review

In the past few years, it's undoubtedly been the complete cycles of Bach cantatas that have grabbed the attentio¬¬n of music critics, not least those by Masaaki Suzuki's Bach Collegium Japan (on BIS) and John Eliot Gardiner with his Monteverdi Choir (SDG). Yet for those in the know, it has always been worth exploring more selective projects for refreshingly special insights. Philip Pierlot's Ricercar Consort on the Mirare label has proved particularly rewarding for those listeners interested in experiencing one-voice-per-part performances, and now bass Peter Harvey's Magdalena Consort proves itself to be an equally fine exponent of this approach, which was first championed by Joshua Rifkin in the 1980s and remains hotly debated by performers and musicologists alike.

Though founded in 2008 and already highly regarded for its chamber-scale performances of Monteverdi and Bach, this is the Magdalena Consort's first recording, and it's difficult to imagine a more auspicious debut. Harvey himself contributes an exceptionally thoughtful booklet essay, concentrating on the numerical significance of the three cantatas on the disc, yet couched in such terms as to be immediately accessible to the non-specialist. The performances themselves are just as thoughtful: while never wallowing in slow speeds, they are equally never rushed, and this makes for one of the most appealing discs of Bach cantatas currently available.

It helps that the three works are among Bach's greatest in the genre, and are taken from different periods of his creative development. BWV 150 is now thought to be Bach's earliest Cantata, probably composed in 1707 in Arnstadt as preparation for his new position at Mühlhausen. Brahms used the bass line of the glorious final Ciaccona (chaccone, track 14) as the basis for the finale of his Fourth Symphony, and the whole work – scored for exceptionally intimate forces – is a gem, as well as hiding a remarkable acrostic which is helpfully revealed in the accompanying texts. BWV 78 was composed in 1724 in Leipzig, and from the opening chorale-passacaglia it makes its mark like few others. The soprano-alto duet (track 2) is a real joy, while the bass aria with strings and obligato oboe (track 6) is particularly arresting. The concluding work, Herz und Mund und Tat und Leben, BWV 147, was originally composed in Weimar in 1716, and subsequently reworked in 1723 in Leipzig. It is probably best known for its recurring chorale-chorus (tracks 20 and 24, familiar to English-speaking audiences as Jesu, joy of man's desiring), which is here ideally paced on each appearance, its textures warm yet wondrously transparent. The lively opening chorus and the penultimate aria, a martial affair for bass, trumpet and strings (track 23), are notable highlights.

Throughout this recording, the vocal quartet of soprano Elin Manahan Thomas, alto Daniel Taylor, tenor James Gilchrist and Harvey himself on bass, work exceptionally well together as well as in their solo numbers, with a highly developed sensitivity to the sung texts. There are outstanding instrumental contributions from, among others, leader Lucy Russell, oboist James Eastaway, flautist Rachel Brown, and trumpeter Robert Farley, and the ensemble and balance as a whole are flawless.

With vivid recording and full documentation, this is a splendidly successful disc both for the Magdalena Consort and for Channel Classics, and clearly a must for lovers of Bach's music.