Sublime as Mozart and Beethoven so often are, one peak in the mountain range of greatness outdistances even them.

From this cloudless altitude pours down the music of J.S.B., astonishing as much for its range as its profundity.

The JSO's sampler of the composer's works - in a Saturday evening teasingly titled "Basically Bach and Totally Baroque" - included both the secular and the religious.

Some might argue, and I think I'd agree, that the distinction is meaningless since even Bach's most workaday pieces are kissed by the sunshine of eternity.

Either way, Bach nuts in the audience knew they were in for a treat the moment soloist

Scott Thornburg's trumpet made its florid entrance at the beginning of the "Second Brandenburg Concerto."

I imagine playing in this high register is not a piece of cake, but Thornburg held the musical line with ease, and was delightfully supported by cosoloists Danilo Mezzardi (flute), Michael Heald (violin) and Emily Hay (oboe).

The concerto's relentless forward momentum - Bach seems to be going somewhere with a brisk stride - was well projected by music director Stephen Osmond.

Osmond demonstrated his ability to shape a more substantial baroque canvas with Bach's "Suite Number 3 in D major," a collection of delightfully articulated dances set off by a more serious "Overture."

The performance had a splendid spring to it, and assistant concertmaster Xie Min produced a melting cantabile in the famous "Air" in the second movement.

All this led up to the evening's centerpiece, the "Cantata Number 4: Christ lag in Todesbanden."

Bach distilled some of his greatest musical ideas into his cantatas, and this is a great one.

Osmond, the JSO and the voices of the Jackson Chorale, prepared with meticulous care by director Thomas Sheets, took us high up the musical mountain with their performance.

As if this wasn't enough for an evening, the program also squeezed in an appealing performance of "Spring" and "Winter" from Vivaldi's "Four Seasons," ably directed by Thomas Heald at the violin, plus a curiosity called "Battalia" by Biber which more than earned the appellation "Totally Baroque."