motets_BWV_225_229

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Oregon Bach Festival Discovery Series Motet BWV 225 Singet dem Herrn ein neues Lied Motet BWV 229 Komm, Jesu, komm 2001 In the church services of the 16th, 17th, and early 18th centuries, the motet was the predominant musical form. But in the church services of Bach’s time, the cantata had become the prevalent type of sacred music. Bach’s motets, therefore, were not composed for Sunday morning church services, but were written for other specific occasions. The motets we will discuss today each have two separate four-voice choirs. In addition, Bach follows the tradition of his Italian predecessors Monteverdi and Gabrieli, and doubles the vocal parts with instruments. Today, four strings will play with Choir 1; four winds with Choir 2. In the center there is one double bass for both groups. It is possible to perform the motets without the instruments, but the strings and woodwinds strengthen the vocal line, and give the separate choruses a different color. This makes it easier to hear the structure of the piece. Bach did not write many pieces for double choir, and there is a simple reason. On Sundays, Bach served four churches, and his singers had to be divided so that each church had a four-voice choir. It was only for special occasions that Bach could use all of his singers at one time. The St. Matthew Passion, composed for Good Friday afternoon when there was only one church service, uses a double choir. There is also a secular cantata written for the anniversary of the election of Augustus III as King of Poland, BWV 215 Preise dein Glücke, gesegnetes Sachsenand, and four double choir motets. The text of the motet Singet dem Herrn ein neues Lied [Sing to the Lord a new song] indicates to Bach that he should use all of his forces. A new song to the Lord should be a strong, convincing song, and Bach starts the motet in a special way. The 2nd choir begins by repeating Singet [Sing] three times.

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This is an imperative, and the 1st choir, hearing the 2nd choir command Singet, begins to sing. The sopranos enter after the first entreaty; after the second singet the tenors begin, and after the third singet, the altos join in. Then the whole texture is filled with new entrances, taking literally the opening invitation, singet.

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This beginning is joyful, and the elaborate entrances and immediate contrast between the two choirs make it vibrant. Bach continues with a new text die Gemeine der Heiligen sollen ihn loben [the congregation of the saints shall praise Him], sung separately by the two choirs. Bach gives much weight to the word loben [praise], extending it with a melisma in each voice. Following the statement by the 1st choir and strings, the 2nd choir and woodwinds repeat the same music.

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Soon after there is a new text, Israel freue sich [Israel shall rejoice]. To express the word freue [rejoice], Bach uses his rhythmic motive for joy, and shortens the distances between the choir entrances.

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Thus far the motet has been constructed in three short parts, and could be viewed as the prelude. And as in so many organ preludes, a fugue will follow. The 2nd choir accompanies the fugue by repeating the imperative singet of the opening. The sopranos of the 1st chorus begin the joyous fugue, followed by the altos and then the tenors. The climax comes when the basses of both choruses simultaneously join the other sections with this magnificent playful theme.

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This is brilliant music, and technically difficult for the singers. The voices are used like instruments, so it could be described as a concerto for the chorus. This is a lengthy fugue, and it is somewhat surprising that Bach introduces a new subject rather late in the development. This new subject is triggered by an old German word Reihen, which means dance. A new dance-like motive is introduced by the sopranos of the 2nd choir.

This new subject progresses in Choir 2 from soprano to alto and then to the tenors. The section comes to a brilliant ending when the basses of both choirs sing the first subject. There is a short coda of playful and joyous music, and a final strong cadence.

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This is the first section of the motet. Bach now contrasts this energetic and virtuosic music with a chorale. The 2nd chorus sings the chorale Wie sich ein Vater erbarmet über seine junge Kinderlein [As a father cares for his children, so the Lord cares for us]. As the 2nd chorus sings the chorale, the 1st chorus offers a prayer Gott, nimm dich ferner unser an [God, we ask you to care for us always].

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This is gentle, contemplative music. The text of the chorale in the 2nd chorus continues by describing the fragility of nature and man Gleichwie das Gras von Rechen, ein Blum und fallend Laub [As grass upon the meadow, a flower that withers fast]. The 1st chorus continues its prayerful comments, growing more urgent in its plea to God for help as the chorale text becomes more negative.

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Finally the last section of the chorale has the text Also der Mensch vergehet, sein End, das ist ihm nah [So man must also perish, and soon his days are gone]. This phrase contains a two-note sighing motive in all parts of the chorus. Again the 1st chorus responds Wohl dem, der sich nur seif und fest aug dich und deine Huld verläßt [O blest and happy shall he be who puts his hope and trust in Thee].

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In the third part of the motet, Bach returns to the jubilant tone of the beginning Lobet den Herrn in seinen Taten, lobet ihn in seiner großen Herrlichkeit [Praise the Lord for all his deeds, praise Him for his glory]. The choirs begin by singing separately.

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The distance between the entrances of the choruses is shorter, so the music becomes more active and more intense. The climax comes at the end of the section when both choirs sing together.

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A fugue follows, but instead of two separate choirs and two separate instrumental groups, the two choirs and instruments are combined in a four part setting. Bach has taken a cue from the text Alles was odem hat, lobe den Herrn [Everything that has breath, praise the Lord]. The virtuosic and brilliant fugal subject is first stated by the basses.

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At the end of this lengthy fugue, Bach adds one special feature. At the final climax, Bach has the sopranos sing a high B-flat, a brilliant punctuation to this glorious motet.

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The next motet, Komm, Jesu, Komm [Come, Jesus, come], is most certainly a funeral motet, composed for a person unknown to us. It is markedly different from Singet dem Herrn because of the text and the somber occasion for which it was written. The text is reflective and contemplative, thoughts of a person who is near the end of life, Come, Jesus, come. I am tired; I want to go; my time has come. Bach sets up this mood by beginning in G-minor, with subdued chords, and repeating komm [come]. I think it is remarkable how Bach can create an atmosphere of intimacy in just a few measures.

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Here at this moment there is a pause, and then Bach begins a new idea. The text is now die Kraft verschwindt je mehr und mehr [my strength is leaving me more and more]. The basses begin with a forte motive that shows strength, but quickly fades away.

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When this brief section is over, Bach again stops the music with a pause and then continues with a new thought ich sehne mich nach deinem Friede [I am longing for Thy peace]. The music is very expressive, with two-note sighing phrases and a beautiful major tonality that describes the peace of the Lord.

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Again the music stops at the end of this section, and there is yet another new thought der saure Weg wird mir zu schwer [the bitter path of my life is too heavy for me]. Bach brings in a dissonant motive that first appears in the basses of the 2nd chorus, then in the basses of the 1st chorus, and eventually through all eight voices. The music is slow and lugubrious, as if walking slowly and with difficulty.

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And again a pause and then a new contrasting thought. Bach repeats the opening words of the motet Komm, komm, but in a fast tempo that is subdued but joyful. The 1st chorus

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sings Komm, komm, ich will mich, dir ergeben [Come, come, and make me Thy possession] as a fugato at short distances, while the 2nd chorus accompanies by repeating Komm, komm. The structure is then inverted and the 2nd choir has the fugato while the 1st chorus accompanies.

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Thus far there have been a number of different musical ideas, all separated with a brief pause. This parallels our human life that never proceeds in a smooth steady way, but is halting and faltering. In the second half of the motet, and it is almost exactly in the middle of the piece, Bach changes the structure. Instead of continuing with many texts as he has done so far, he will now use only one text until the end du bist der rechte Weg, die Wahrheit und das Leben [you are the right way, the truth and the life]. Bach changes from duple to triple meter, joyful but still subdued. Leben [life] is the word Bach wants to emphasize, and does so with groups of fast moving notes exchanged between the two higher voices.

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The music continues with this joyful mood, exchanging statements between the 1st and 2nd chorus. The texture is homophonic, that is all four voices of each choir enter and sing together. But then Bach treats the music in a polyphonic way. The basses and tenors begin, the altos and finally the sopranos enter.

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At the end of the section both choirs sing together, creating an atmosphere that is strong, secure, joyous, and confident.

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Bach concludes the motet with a chorale-type movement that he calls aria. The text is Drum schließ ich mich in deine Hände und sage, Welt, zu guter Nacht! [Into Thy hands I yield my spirit, and say, O world, good night].

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At the end the aria uses a text similar to the second part weil Jesus ist und bleibt der wahre Weg zum Leben [Jesus is and will remain the only true way to life]. At the word bleibt [remain] there are long stretched notes. Wahre Weg zum Leben [the only true way to life] goes from low to high range, showing the path that leads from earth to eternal life.

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