The very act of programming several of Bach’s motets into one concert is itself a bold curatorial gesture. It is also Bach Akademie Australia’s latest project. These works, Bach’s only vocal compositions to remain in continuous performance since his death in 1750, are technical, intricate and uncompromising in their complexity.

However, while endlessly fascinating from an analytical perspective, these motets were never intended to be performed together and – unless you are a committed Bach aficionado – they are not especially entertaining in aggregate.

Bach Akademie Australia & The Song Company perform Bach’s Motets. Photo © Keith Saunders

On the first evening of BAA’s tour of Bach Motets, there are some lovely moments from the choir, particularly the trio moments in Jesu Meine Freude and openings are often launched with real energy and confidence. As the movements progress, however, that initial spark occasionally wanes, with the music feeling as though it was driving the choir rather than the other way around.

There is limited differentiation in texture between contrapuntal and homophonic sections, resulting in some movements – and indeed entire motets – feeling texturally uniform. Greater dynamic contrast could bring additional shape to the long stretches of dense polyphony, which tends to sit consistently around at a mezzo-forte. At times, there is also scope for more power in the upper voices, particularly in climactic passages.

Bach Akademie Australia & The Song Company perform Bach’s Motets. Photo © Keith Saunders

A solo cello interlude by Daniel Yeadon provides a welcome palate cleanser. His musicianship is elegant, though the unaccompanied nature of the prelude makes intonation issues more noticeable than they might otherwise be.

The choir comes into its own most strikingly, however, in the two contemporary works that conclude the program. Performances of Sandra Milliken’s Herr Jesus Christus and James MacMillan’s O Radiant Dawn are luminous and emotionally immediate, showcasing a richness of tone and expressive freedom that feels revelatory. These pieces not only highlighte the ensemble’s strengths but also brings a sense of contrast and renewal that lifts the entire evening.

BAA’s Artistic Director Madeleine Easton clearly has an unwavering passion and spectacular knowledge for this music. The context and insight she brings help shape a program that can feel unrelentingly dense, offering the audience a guiding thread through a demanding musical landscape.

Bach Akademie Australia and The Song Company perform Bach’s Motets at Mosman Art Gallery, Sydney (8 February), St James’ Church, Sydney (12 February) and Bowral Memorial Hall (13 February).