Bach's cantatas include some of the most astonishing, visionary music in existence, and one marvels at the dedication with which he turned out one a week in his early Leipzig years. Philippe Herreweghe, who was involved in the great Harnoncourt/Leonhardt series in the 1970s, has developed a light, crisp, agile style with his Collegium Vocale Gent. Neither drivingly rhythmic like John Eliot Gardiner's cycle, nor thin like some of the one-to-a-part versions, it is deftly poised and dancing: try Dorothee Mields in the hypnotically beautiful soprano aria Es ist und bleibt from Cantata 44, or the buoyant and elaborate chorus which unusually ends Cantata 109. A tiny bonus is Komm, Jesu komm by Johann Schelle, showing the simple roots from which Bach grew.