The cantatas by Johann Michael and Johann Christoph are vastly different from those later, transcendent works by Johann Sebastian, lacking the conceptual sophistication and devoid of the often extended, profound musical explications of the texts. Rather, the layouts tend to adopt a more overtly accessible, conspicuous presentation that eschews thematic development and polyphonic devices in favor of clearly stated, rhythmically square structures that in many cases have more in common with the style of viol consort music of the previous century than with the flashier concoctions of, for instance, Schütz or Gabrieli.

Not surprisingly, the musicians of Cantus Cölln and Concerto Palatino take to this music with sincerity, focused enthusiasm, and appreciation for both the stylistic nuances and occasions for expressive abandon. These scores, which resided in Johann Sebastian's library and were missing for more than 50 years following World War II, are a priceless legacy from a period of unsurpassed musical creativity, and we are fortunate to have these significant works performed and preserved in such thoughtful, polished, and sonically respectable form. [6/20/2003]