BACH frequently recycled his own religious music, not only to change its emphasis and develop new ways of expressing his joy in God’s creation, but probably to give it a wider audience and a longer life. Cantatas were written for a specific day in the church calendar, and might not be revived. Masses could be used throughout the year.

In the intimate acoustic of the Wigmore Hall, London, recently, The Sixteen choir, under its director Harry Christophers, and Baroque orchestra juxtaposed two cantatas and the short Masses (lacking Credo, Sanctus, or Agnus Dei), in which the composer re-used and repurposed sections from them.

Halt im Gedächtnis Jesum Christ (BWV670) (1723) is a piece full of anxiety, based on the Gospel narration of Christ’s appearance to his disciples after his resurrection. In the Gloria of the Mass in A (BWV234) (?1738), the intricate string figuration of the cantata’s bass aria “Friede sie mit euch” becomes an outpouring of joyful praise. Its “Qui tollis” is drawn from the “Liebster Gott, erbarme dich” of Siehe zu, daß deine Gottesfurcht (BWV179) (1723), where the reassignment of the instrumental bass to upper strings, and the oboe parts to two flutes, here beautifully played by Katy Bircher and Eva Caballero, add an unworldly quality to the plea for mercy.

The Kyrie of the Mass in G (BWV236) (?1738-39) makes use of BWV179’s opening chorus “Siehe zu daß deine Gottesfurcht nicht Heuchelei sei”, with the emphasis changing from an admonition to avoid hypocrisy to an appeal for mercy. The tenor aria “Falscher Heuchler”, comparing hypocrites to the apples of Sodom, full of decay but shining brightly on the surface, becomes the Mass’s “Quoniam”, a robust declaration of faith in Christ.

All were excellently sung by a two-to-a-part choir, the solos distributed among choir members. Joseph Crouch’s obvious pleasure in his continuo cello line was a joy to behold. A pity, then, that the instruments occasionally threatened to overpower the singers.

Three soloists stood out. Eamonn Dougan’s emollient bass, embodying Christ, soothed an anxious choir in “Friede sei mit euch”. Grace Davidson sang BWV179’s “Liebster Gott” in a beautiful, shining soprano, even throughout her register. Best of all was the alto Rebecca Leggett who sang the Mass in A’s “Quoniam” with great authority, a rich contralto quality in the lower register and top notes blooming into brightness, her recitatives characterful, but never over-dramatic. She is surely at the start of a glittering career.