While C.P.E. Bach's 270-plus songs counted among his most popular works during his lifetime, until recently recordings of them have been few. During the past five years CPO has begun to remedy that shortage, first with two excellent full-length programs featuring bass-baritone Klaus Mertens and fortepianist Ludger Remy. Here Remy returns, this time accompanying soprano Dorothee Mields in a program of Odes set to texts by the composer's esteemed friend Christian Furchtegott Gellert. Performers no less distinguished than Dietrich Fischer-Dieskau have included C.P.E.'s Gellert Odes on their programs, and given the composer's heartfelt instructions detailed in his preface to the published edition (reprinted in full in the accompanying booklet), they also were clearly among his own most cherished works.

"Am neuen Jahr" (At the New Year), "Passionslied" (Passion song), "Osterlied" (Easter song), "In Krankheit" (In sickness), and "Abendlied" (Evening song) count among the more highly expressive selections. Listeners even remotely familiar with the composer's characteristic use of quirky thematic contrasts and wayward modulations will appreciate Mields' skillful negotiation of the many difficult passages she performs here. Her elongated sighs lacing "Am neuen Jahr" and "In Krankheit" are especially captivating.

In the notes Remy claims that Bach intended certain selections as Handstücke ("hand-pieces")--meant to be played on the keyboard alone, without voice--five of which are included here. Among them "Morgengesang" (Morning song) and "Abendlied" are presented twice, in both vocal and solo keyboard versions (though strangely the vocal version of the latter listed to be on Disc 1 is actually on Disc 2 and vice versa). This is a fascinating idea, and more comparisons of this kind would have been welcome. Remy's solo rendering of "Trost der Erlösung" (Solace of Redemption) is adequately probing, though Fischer-Dieskau's beautifully sung version (and with an additional stanza) on Archiv more fully realizes the piece's depth.

CPO's sound is state-of-the-art, with both Mields and Remy amply present and naturally balanced. Remy's extensive notes in the form of a clever imagined dialogue are informative and often highly entertaining. Those who've acquired Mertens and Remy's previously-mentioned programs surely will enjoy this one as well. For those who haven't, this generous, specially-priced set (2 CDs for the price of 1) is both an excellent value and a great way to acquaint yourself with some of C.P.E. Bach's most inspired songs.

--John Greene