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.
This four-part motet with continuo is virtually
identical except in text and instrumentation to the
second movement of Cantata BWV 28. The cantata
("Gottlob! nungeht das Jahr zu Ende") was first
performed on 30th December 1725 with the four choral
parts doubled by cornett and trombones, oboes and
bassoon, strings and continuo. The motet version seems
to have been used on a separate occasion; at one stage
it appears to have provided the "filling"in a sandwich
comprising a setting by Telemann of "Jauchzet dem Herrn
alle Welt" for double choir, and an "Amen, Lob und
Ehre" attributed to J.G. Harrer.
Bach's motet differs from his cantata movement in using
the last, as opposed to the first verse of Johann
Gramann's celebrated hymn "Nun lob' mein Seel, den
Herren". As with "0 Jesu Christ" (BWV 118) the chorale
tune is given out in long note values by the sopranos,
while the three lower voices and the occasionally
independent continuo engage in close imitative
counterpoint. At times this becomes chromatic a way
that is reminiscent of the central fugue of "Fürchte
dich nicht (BWV 228).
Source: From the notes of John Eliot Gardiner's
recording on Erato with the Monteverdi Choir and
English Baroque Soloists.
I created this arrangement of the Chorus "Sei Lob und
Preis mit Ehren" (May there be praise and glory and
honour) for Brass Quartet (Bb Trumpet, Flugelhorn,
French Horn & F Tuba).
PARTITION