Philippe Herreweghe’s Bach recordings have always marked themselves out for their lyrical qualities. In these three cantatas from 1723-25 the Belgian conductor showcases Bach’s inspired handling of the German hymn (chorale). In the opening chorus of Was Gott tut BWV 99, the singers of Collegium Vocale intone the hymn with reverence and simplicity, while Herreweghe makes the independent orchestral accompaniment feel like a concerto—with solo parts for violin, oboe d’amore, and flute. In the central chorale of Bleib bei uns BWV 6, soprano Dorothee Mields gently caresses the melody a phrase at a time, while a small, sinewy cello weaves flowing figuration around it. The climax of Herz und Mund BWV 147 is another hymn where Bach’s tuneful accompaniment steals the limelight: Herreweghe’s effortlessly light, lilting touch breathes fresh life into the movement best known as “Jesu, Joy of Man’s Desiring.”