	BACH MUSIC DATABASE MOTETS INTRODUCTORY PAGE

BACH MUSIC DATABASE

MOTETS
INTRODUCTORY PAGE

Motets:
Bach’s motets BWV 225-230 provide a welcome vocal challenge for any choral group, large or small. They were probably written to improve the vocal ability of the composer’s own choral forces at Leipzig. It was likely that they appeared on numerous occasions, either at specific services or during the weekly ones in place of a cantata, but nowadays they are mainly featured in concert programmes as a musical tour de force, for that is what they are for the singer. BWV 230 (Lobet den Herren) has provided a problem regarding its authenticity for a number of years, but its publication by Breitkopf and Härtel in the early 1820s has meant that the work has been featured in the Motet collection and it is also included in the Neue Bach Ausgabe (Series III/1) published in 1965. The usual question raised by these works is concerned with the instrumental forces to be employed. There is no firm guidance here from the composer other than a tacet belief that the minimum he would have used would have been basso continuo and organ. However for BWV 226 (Der Geist hilft) a set of instrument parts survives, strings to accompany Choir I and woodwind to accompany Choir II, plus the usual basso continuo, their purpose being to reinforce the vocal parts. Therefore, there is an implicit dilemma as to how to resolve the problem and stay true to the composer’s intentions. A number of Bach’s motets are possibly composed for a funeral, in which case the question is partially answered due to the restrictions in place in the 17th and 18th centuries on the use of instruments in funeral music. However for modern-day performances in a wide variety of venues, the inclusion of instruments to double the voice parts and provide a contrasting ‘timbre’ might be both wise and appropriate. Performing material is available from Bärenreiter, with a new vocal score published in 2001 that includes a keyboard reduction to assist at rehearsals. The one-movement BWV 118 is also included under the heading ‘Motet’ although it is numbered in amongst the cantatas. There are two versions. The first is scored for brass instruments and is usually regarded as having been played ‘outdoors’. The litui are members of the trumpet family and they also feature in the second or ‘indoor’ version scored for litui, strings and basso continuo, with parts for two oboes, oboe da caccia and bassoon ad libitum doubling the voice parts. In recent years there has been a growing belief that the motet ‘Ich lasse dich nicht’ is by Bach and it is catalogued as BWV anh.159. The material dates from 1712 but more precise details are not available and this along with other spurious works has not been included in this database. © Margaret Steinitz

Motets:

Bach’s motets BWV 225-230 provide a welcome vocal challenge for any choral group, large or small. They were probably written to improve the vocal ability of the composer’s own choral forces at Leipzig. It was likely that they appeared on numerous occasions, either at specific services or during the weekly ones in place of a cantata, but nowadays they are mainly featured in concert programmes as a musical tour de force, for that is what they are for the singer. BWV 230 (Lobet den Herren) has provided a problem regarding its authenticity for a number of years, but its publication by Breitkopf and Härtel in the early 1820s has meant that the work has been featured in the Motet collection and it is also included in the Neue Bach Ausgabe (Series III/1) published in 1965.

The usual question raised by these works is concerned with the instrumental forces to be employed. There is no firm guidance here from the composer other than a tacet belief that the minimum he would have used would have been basso continuo and organ. However for BWV 226 (Der Geist hilft) a set of instrument parts survives, strings to accompany Choir I and woodwind to accompany Choir II, plus the usual basso continuo, their purpose being to reinforce the vocal parts. Therefore, there is an implicit dilemma as to how to resolve the problem and stay true to the composer’s intentions. A number of Bach’s motets are possibly composed for a funeral, in which case the question is partially answered due to the restrictions in place in the 17th and 18th centuries on the use of instruments in funeral music. However for modern-day performances in a wide variety of venues, the inclusion of instruments to double the voice parts and provide a contrasting ‘timbre’ might be both wise and appropriate. Performing material is available from Bärenreiter, with a new vocal score published in 2001 that includes a keyboard reduction to assist at rehearsals.

The one-movement BWV 118 is also included under the heading ‘Motet’ although it is numbered in amongst the cantatas. There are two versions. The first is scored for brass instruments and is usually regarded as having been played ‘outdoors’. The litui are members of the trumpet family and they also feature in the second or ‘indoor’ version scored for litui, strings and basso continuo, with parts for two oboes, oboe da caccia and bassoon ad libitum doubling the voice parts.

In recent years there has been a growing belief that the motet ‘Ich lasse dich nicht’ is by Bach and it is catalogued as BWV anh.159. The material dates from 1712 but more precise details are not available and this along with other spurious works has not been included in this database.

BACH MUSIC DATABASE

MOTETSINTRODUCTORY PAGE

MOTETS
INTRODUCTORY PAGE