The very act of programming several of Bach’s motets into one concert is itself a bold curatorial gesture, and is 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.

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

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

Bach Akademie Australia & The Song Company perform Bach’s Motets.

A solo cello interlude by Daniel Yeadon provided a welcome palate cleanser. His musicianship was elegant, though the unaccompanied nature of the prelude made intonation issues more noticeable than they might otherwise have been.

The choir came into its own most strikingly, however, in the two contemporary works that concluded the program. Performances of Sandra Milliken’s Herr Jesus Christus and James MacMillan’s O Radiant Dawn were luminous and emotionally immediate, showcasing a richness of tone and expressive freedom that felt revelatory. These pieces not only highlighted the ensemble’s strengths but also brought a sense of contrast and renewal that lifted 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 brought helped shaped a program that could have felt 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 on 13 February.