Heiligste

In the autumn of 1713, Bach was invited to apply for the post of organist and music director at the Marktkirche in Halle in succession to Handel's teacher, Friedrich Wilhelm Zachow. Bach was honoured to accept the invitation and in doing so made it clear that he was keen to extend his activities. Under Zachow, who had created a respectable repertory of sacred works of the most varied genres, including a large number of church cantatas, music in Halle had flourished and reached a level that offered Bach an area of responsibility that he evidently found attractive.

John Eliot Gardiner has returned to the form reminiscent of his earliest days with the Monteverdi Choir, when performances were bright and fresh and taut and, well, really good. Of course, he’s working with some really fine music, his soloists are all top-notch, and he’s recording in a familiar place (London’s St. John’s Smith Square) with several of the industry’s most seasoned recording wizards at the controls (especially the two Mikes, balance engineers Mike Hatch and Mike Clements). The music, four of Bach’s Whitsun (or Pentecost) cantatas, shows the composer at his most creative in terms of text setting and structural formulations.

The Vienna Boys’ Choir, one of the world's oldest boys’ choirs, maintains its status as a living tradition after more than 500 years. Haydn and Schubert both started their musical careers there; Antonio Salieri was a member of the admissions jury. What is captivating about these recordings is both the clarity of textual and musical declamation and a very special, authentic charm deriving from the slight Viennese accent. Performances by the Vienna Boys’ Choir are not only a matter of perfect pronunciation and intonation, but also of a musical sensuality that is vital to interpretations of Haydn and Schubert, yet frequently overlooked.