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...