Solomon’s Knot unravel Bach family motets in a different way

Arriving in the auditorium of Stoller Hall, on the platform were just eight chairs and the microphones for BBC Radio 3; no music stands, no organ, no double bass left one with a sense of intrigue. Only when the singers appeared on the platform did everything become clear. In a stoke of artistic genius Solomon’s Knot revealed how Bach’s Motets could be performed in a different way. Stripping the music back to the bare bones, with one voice per part, no continuo, without scores it demonstrated the confidence in their artistic director and in the musicians to deliver something unconventional that really made one sit-up and listen anew.

Alternating motets by Johann Christoph Bach (the cousin of Johann Sebastian’s father) and Johann Sebastian Bach, Solomon’s Knot created a highly balanced programme which varied the lengths and style of each work. The darker, more serious works appearing in the first half, gradually stepping towards the more celestial Singet dem Herrn of Johann Sebastian. Beginning with the five-part Fürchte dich nicht by JC Bach, four singers appeared on the platform. A slight initial tentativeness eased quickly. From the rear of the auditorium the sopranos entered creating a sense of theatre, when all five lines came together the blend of voices was superb, but also magical, making quite an impression and setting a high bar for the rest of the evening.

Next JSB’ Fürchte dict nicht. As in each of Bach’s motets, Solomon’s Knot arranged themselves into a semicircle, dividing into two choirs – sopranos at either end of the arc with basses in the centre with a slight gap. With this arrangement it really emphasised the genius of Bach’s polyphonic writing and the group's ability to bring it alive.

Three works stood out. In the first half JC Bach’s Lieber Herr Gott. The textures here were much simpler than those of the motets around it. But here there was a darkness and poise, with a real awareness of the meaning of the text, in a moving performance, aided by excellent diction. The second, JS Bach’s Jesu, meine Freude. In each of the 11 sections, Solomon’s Knot found the contrasts most noticeably in chor sections: in the first, the rests and silence between the notes became prominent and meaningful; in the second, the phrasing and blend of the three voices was exquisite and poised; while in the third the dexterity employed made the writing look effortless. And thirdly, the vivacious Singet dem Herrn. Here their virtuosity shone through, delivering this with kaleidoscopic colour, crisp articulation and sheer joy.

Removing the continuo was a bold and brave decision. In doing so it highlighted the intricacies of the writing. Without direction, the eight singers not only just listened to each other intuitively, but also the acoustic of the hall, blending beautifully, with a strong musical bond and communicative prowess. Vibrato was very light when used, adding a gentle warmth to the sound when required. The quality singing was so engaging that one didn’t miss the continuo whatsoever.

The singers had memorised, internalised and were able to perform this music effortlessly and flawlessly; there was simply utter conviction from every member of Solomon’s Knot. At the end of the concert, marking the end of their Manchester debut, there was was an encore, JS Bach’s Ich lasse dich nicht. Come back again soon.