This intriguing program continues Goebel’s recent exploration of the music of the Bach family, so far concentrated on instrumental music ( Fanfare 25:4 and 26:6). The apparent odd man out this time is the Viennese court composer Francesco Conti (1682-1732), but his fine motet earns its place by dint of being one of the works copied out by J. S. Bach, who performed it at Cöthen in 1716. The disc’s generic title can be safely ignored, since it truly applies only to the well-known and deeply felt Johann Christoph Bach lament, which is given with violins replacing the dark viols that contribute so much to the piece’s profound effect. There are in any event a number of superior performances to that on offer here (Robin Blaze, Andreas Scholl, and Gerard Lesne, to name but three personal favorites), which suffers from inappropriate gestures and mannerisms on the part of both singer and director.

The rest follows the familiar Goebel pattern of alternating between insightful, dramatic music-making and the downright perverse, but overall the excellent singing of Kožená tips the balance in favor of the disc. The Conti follows the familiar format of alternating recitative and arias, the whole completed with a brilliant Alleluia. On face value, the subject matter, an ecstatic counter-Reformation text that moves from painful longing to joyous celebration of the mystical union of the soul with Christ, might seem an unlikely topic to attract the Lutheran Bach, but it’s worth recalling that Bach himself explored such sentiments in cantatas such as Ich geh und suche , BWV49. The performance gets off to a fine start, with Kožena’s rapt singing of the opening accompanied recitative immediately drawing in the listener. But the first aria finds Goebel up to his old tricks, with chords sliced through with a brusqueness that serves to undermine any Italianate lyricism the singer tries to instill. Bach would doubtless have admired not only the restraint with which Conti handles the rapturous text of the second aria, but also its lovely obligato violin solo, most winningly played by Stephan Schardt. Kožená’s singing of it is gorgeous.

Vernügte Ruh , BWV170, is one of Bach’s most treasured solo cantatas. One of three composed for alto in 1726, it has long been a favorite with altos of both sexes, having received memorable performances over the years from the likes of such as Janet Baker and Andreas Scholl. Kožená’s would easily have been a candidate to join any select list, were it not for the fact that both the opening and closing arias are virtually wrecked by Goebel’s heavy handed emphasis on the first beat of the measure in the first, and further examples of chord “cleaving” in the second. Both the serene Bach aria Bekennen will ich , and the tiny secular cantata by his second son go well, but the highlight of the disc is the wonderful performance of the scena by Bach’s second youngest son, Johann Christoph Friedrich Bach, the so-called “Bückeburg Bach.” Composed in 1773, Die Amerikanerin was described as a “lyric painting.” The text by Heinrich Wilhelm von Gerstenberg is a rapturous outpouring of love by a young Indian for his Zaďde. The music is through composed and surges with a vivid, passionate intensity that at times brings reminders of Gluck. Kožená responds to the music with glorious freedom and an ardent urgency that culminates in a sensual, barely whispered climax. Goebel is on his best behavior here, too, and the disc is worth hearing for this remarkable work, and its equally remarkable performance. As to the rest, well, as I’ve suggested Goebel’s idiosyncrasies make it a mixed bag. Kožená’s legion of admirers are hardly likely to be too troubled by that, and will certainly find their favorite in fresh, resplendent voice.

FANFARE: Brian Robins