Ome parts are so fierce you would not want to come across Easton in an alleyway at night time. Some parts austere or as Bach described it “longing for the grave” and then the counterbalance to that, plenty of movements radiating the most supreme bright, golden joy.

Bach moves to the key of “innocent love”, A major, for his second sonata, with its opening movement reminding the three performers of a sunrise. This is followed by a cheerful, youthful dance in the allegro, with Baba’s viola da gamba providing plenty of low-down organic grunt while the infectious tune is thrown around between violin and keyboard.

Bach Akademie Australia paid excellent attention to all the nuances of text and music in this captivating piece, extraordinary in its array of dramatic invention, and a superb example of Bach’s imaginative brilliance at embracing an emotional scope encapsulating the afflictions of sin and death to the joyous affirmation of life.

This is splendid music from the Bach Akademie Australia which contains a wealth of talent, expertise and dedication. With its luxury vocal and instrumental casting and sublime performance, it is one of a handful of ensembles that still brings us ‘heritage’ baroque music played with integrity.

As always, Easton imbued in the ensemble her profound understanding of Bach’s genius and one hopes that it will only be a matter of years before the Bach Akademie’s Easter concerts become something of a Sydney cultural institution.