Mass in F Major, BWV 233.2
Brandenburg Concerto No. 1 in F Major, BWV 1046.2
Was mir behagt, ist nur die muntre Jagd BWV 208.1 Jagdkantate
Hunt Cantata, BWV 208.1

With Bach’s Horns, Solomon’s Knot presents a boldly conceived album that places three of Johann Sebastian Bach’s works in a newly imagined dramatic relationship without departing from historical integrity or musical depth. At the heart of the programme is the so-called “Hunt Cantata” (Was mir behagt, ist nur die muntre Jagd, BWV 208), framed by the festive Mass in F major (BWV 233) and the First Brandenburg Concerto in F major (BWV 1046), whose first movement serves here as a jubilant overture to the cantata, while its other movements are inserted at structurally fitting points within it. This striking concept is grounded in the shared presence of the horn a symbol of festivity, nature, and nobility woven throughout all three works. Performed with stylistic assurance and informed historical insight, Solomon’s Knot offers a vibrant portrait of Bach’s horn writing in its many guises. The recording opens with the bold Allegro of the Brandenburg Concerto, acting as an instrumental curtain-raiser for the cantata. In a subtle yet imaginative curatorial move, the ensemble also intersperses the remaining movements of the concerto throughout BWV 208, enriching the dramatic flow while maintaining respect for both musical forms. Composed in 1713 for the birthday of a Saxe-Weimar duke, the Hunt Cantata is one of Bach’s earliest secular works. Its Arcadian imagery, mythological characters, and pastoral mood offer a glimpse into the world of courtly celebration. Solomon’s Knot brings out its theatricality, textual expressiveness, and rhetorical richness through precise articulation and a compelling cast of solo voices. The Mass in F major provides a spiritual counterpart to the programme. One of the so-called "Lutheran Masses", its concise setting of Kyrie and Gloria is marked by buoyant textures, intricate counterpoint, and luminous orchestration. The horns remarkably prominent in this work resonate powerfully within the album’s sonic narrative. Led by artistic director Jonathan Sells, Solomon’s Knot continues to affirm its reputation for communicative, conductor-less music-making that bridges historical awareness with contemporary vitality. With Bach’s Horns, the ensemble not only honours the brilliance of Bach’s ceremonial style but also explores the symbolic resonance of the horn in music of grandeur, celebration, and invention.