There are five extant motets firmly attributed to Bach
-- a small number compared with his huge output of
cantatas. Whereas the more plentiful cantatas served a
liturgical purpose, the Lutheran church had no need of
such short choral works, utilizing instead the large
stock of motets already available in Leipzig and
elsewhere. Bach's motets were therefore all composed
for special occasions in Leipzig, primarily funerals --
events particularly suited to such serious contrapuntal
compositions. ...(+)
There are five extant motets firmly attributed to Bach
-- a small number compared with his huge output of
cantatas. Whereas the more plentiful cantatas served a
liturgical purpose, the Lutheran church had no need of
such short choral works, utilizing instead the large
stock of motets already available in Leipzig and
elsewhere. Bach's motets were therefore all composed
for special occasions in Leipzig, primarily funerals --
events particularly suited to such serious contrapuntal
compositions.
The text of BWV 228 ("Be not afraid, for I am with
thee") clearly marks it out as falling within this
category, although the exact circumstances for which it
was composed remain unknown. Taken from two verses from
chapters 41 and 43 of Isaiah and the hymn "Warum sollt
ich mich denn grämen" by Paul Gerhardt, the text is
divided into three interlinked sections; the opening
phrase acts as a link that gives the motet strong
structural coherence. Certain stylistic features of the
writing suggest that the work may have originated
earlier than Bach's time in Leipzig. It is scored for
two four-part choruses, possibly intended to be
supported by continuo bass (the original score was
lost, leaving some issues of instrumentation open to
question).
The motet opens with a largely homophonic eight-part
chorus that introduces some striking dissonant harmony;
this gives way to a more lightly scored four-part
chorus, in which the hymn tune is heard in long notes
in the soprano line. Later the eight-part opening
phrase again returns, now embellished by the second
stanza of the hymn.
Although originally composed for voice, I created this
arrangement for Double Woodwind Quartet (Flute, Oboe,
Bb Clarinet and Bassoon).
PARTITION