Some commentators describe the cantata’s solo oboe as Shchedrin’s mysterious angel herself. Under oboist Jana Specht’s deft fingers, however, the oboe seemed much more human. Emerging against the chorale’s soft, unwavering humming, her melodies twirled and twitched. Occasionally dissonant, their short, repetitious phrases conjured images of a solitary, dancing child, utterly immersed in his own, private world.