1 Oregon Bach Festival Discovery Series Motet BWV 225 Singet

1 Oregon Bach Festival Discovery Series Motet BWV 225 Singet

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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