If BWV66 (10 April 1724) had been the only surviving Bach composition, it would have been enough to secure him a place as one of the greatest of composers. The opening chorus is pure joy, with shouts of `herschet’ stressing the reign of the conquerer Jesus that has started now that ‘He has risen from the grave’. The vocal entries vary continually: altos and tenors, tenors and basses, altos and basses. Wind and strings alternate. Further on in the movement the motives of `erfreut’ and `herrschet’ are cleverly combined. Then follows a superbly chromatic middle part for solo alto and bass, interrupted a number of times by the choir singing a choralelike tune. The following bass recitative has an intense ending leading up to one of Bach’s most cheerful arias. The `Danklied’ does indeed resound, and when the bass sings about God’s everlasting faithfulness, the instrumental joy is continued above the long note. The rest of the cantata (apart from the delightful short final chorale) is a dialogue between Fear and Hope. They sing contrasting texts (kein/mein, noch/nicht) to the same musical ideas, which is illogical, but it is all very beautiful. The music is so fitting to the words that if we did not know all this was based on a worldly cantata in which `Glückseligkeit Anhalts’ and `Fama’ have their conversation, we would never have guessed.

Composer: Johann Sebastian Bach
Artists: Netherlands Bach Collegium, Pieter Jan Leusink (conductor), Holland Boys Choir, Bas Ramselaar (Basso), Sytse Buwalda (Soprano) & Nico van der Meel (Tenore)

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Tracklist:
Erfreut euch, ihr Herzen, BWV 66:
00:00 I. Coro. Erfreut euch, ihr Herzen (Coro)
10:02 II. Recitativo. Es bricht das Grab (Basso)
10:39 III. Aria. Lasset dem Höchsten ein Danklied (Basso)
17:28 IV. Recitativo. Bei Jesu leben freudig sein (Alto, Tenore)
21:57 V. Duetto. Ich furchte zwar (Alto, Tenore)
29:15 VI. Choral. Alleluja! Alleluja! Alleluja! (Coro)

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