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List of motets by Johann Sebastian Bach Motety Bacha Motets de Jean-Sébastien Bach
rdfs:comment
It is uncertain how many motets Johann Sebastian Bach composed, because some have been lost, and there are some doubtful attributions among the surviving ones associated with him. There is a case for regarding the six motets catalogued BWV 225–230 as being authenticated, although there is some doubt about one of them, Lobet den Herrn, alle Heiden. A seventh motet, Ich lasse dich nicht, BWV Anh. 159, which was formerly attributed to Bach's older cousin Johann Christoph Bach, appears to be at least partly by J.S. Bach, and if so was probably composed during his Weimar period. Motety Bacha – szereg utworów skomponowanych przez J.S. Bacha w formie motetu do tekstów w języku niemieckim. Utwory na chór a capella bądź z orkiestrą kameralną przeznaczone na specjalne okazje (głównie muzyka żałobna): Les motets de Jean-Sébastien Bach sont un ensemble d’œuvres probablement composées en tant qu'ode à la mémoire de défunts, que cela soit lors des funérailles ou lors de cérémonies commémoratives. Ces œuvres atteignent un haut degré de complexité et de perfection de composition et elles sont considérées, parmi les œuvres vocales de Bach, comme les plus abouties et comme des sommets de la musique polyphonique occidentale.
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Genesis Romans
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8 32
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Motets by Johan Sebastian Bach
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–27
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Bible
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King James
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Motets%2C_BWV_225-231_%28Bach%2C_Johann_Sebastian%29
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Motety Bacha – szereg utworów skomponowanych przez J.S. Bacha w formie motetu do tekstów w języku niemieckim. Utwory na chór a capella bądź z orkiestrą kameralną przeznaczone na specjalne okazje (głównie muzyka żałobna): * BWV 225 Singet dem Herrn ein neues Lied * data powstania: ok. 1727, * utwór przeznaczony na dwa chóry czterogłosowe (SATB) * BWV 226 Der Geist hilft unser Schwachheit auf * stworzony na uroczystość pogrzebu rektora Thomasschule, * wykonany 20 października 1729, * przeznaczony na dwa chóry czterogłoseowe (SATB), smyczki, oboje, fagot i b.c. * BWV 227 Jesu, meine Freude * motet żałobny w formie wariacji chorałowej * przeznaczony na chór (SI,SII,A,T,B) acapella * BWV 228 Fürchte dich nicht * motet żałobny * przeznaczony na dwa chóry (SATB) acapella * BWV 229 Komm, Jesu, komm, mein Leib ist müde * motet żałobny * data powstania 1733 * przeznaczony na dwa chóry (SATB) * BWV 230 Lobet den Herrn, alle Heiden * autentyczność tego utworu jest często kwestionowana ze względu na odrębność formy od pozostałych motetów J.S. Bacha * przeznaczony na chór (SATB) i b.c. It is uncertain how many motets Johann Sebastian Bach composed, because some have been lost, and there are some doubtful attributions among the surviving ones associated with him. There is a case for regarding the six motets catalogued BWV 225–230 as being authenticated, although there is some doubt about one of them, Lobet den Herrn, alle Heiden. A seventh motet, Ich lasse dich nicht, BWV Anh. 159, which was formerly attributed to Bach's older cousin Johann Christoph Bach, appears to be at least partly by J.S. Bach, and if so was probably composed during his Weimar period. BWV 228 is another motet which appears to have been written at Weimar, between 1708 and 1717, the others having been composed in Leipzig. Several of the motets were written for funerals. There is some uncertainty as to the extent that motets would have been called for in normal church services—there is evidence that the form was considered archaic. The text of Jauchzet dem Herrn, alle Welt, BWV Anh. 160 (whether or not the piece is attributable to Bach) suggests a performance at Christmas. Another possible use is a pedagogical one. Bach's biographer Johann Nikolaus Forkel suggested that the choral writing would have been useful for training Bach's young singers, and Christoph Wolff has argued that this could apply in particular to Singet dem Herrn ein neues Lied. Bach's motets are his only vocal works that stayed in the canon without interruption between his death in 1750 and the 19th-century Bach Revival. In the early 19th century, six motets (BWV 225, 228, Anh. 159, 229, 227, 226) were among Bach's first printed music, after the second half of the 18th century when the only vocal music by Bach that was printed were collections of his four-part chorales. Les motets de Jean-Sébastien Bach sont un ensemble d’œuvres probablement composées en tant qu'ode à la mémoire de défunts, que cela soit lors des funérailles ou lors de cérémonies commémoratives. Ces œuvres atteignent un haut degré de complexité et de perfection de composition et elles sont considérées, parmi les œuvres vocales de Bach, comme les plus abouties et comme des sommets de la musique polyphonique occidentale. Ces œuvres possèdent un certain nombre de caractéristiques communes, qui les distinguent des autres œuvres vocales de Bach : l'usage fréquent d'un chœur double (deux fois quatre voix), l'absence d'accompagnement instrumental distinct des voix, et le choix des textes plus libres que dans les cantates ou les passions, sans librettiste, issus de poèmes ou de l'évangile, structurant fortement la musique du motet. Les musicologues sont divisés quant à la façon de les interpréter (a cappella ou avec intervention d'instruments, jouant un accompagnement à la basse continue ou colla parte - doublant alors chaque partie). En effet, l'examen des sources ne permet pas d'éclaircir cette question de façon définitive[réf. souhaitée]. Ils ont essentiellement été écrits durant son séjour à Leipzig, pour des événements spéciaux, comme des célébrations ou des funérailles, contrairement aux autres œuvres vocales de Bach, écrites pour des événements religieux réguliers dans sa fonction de Thomaskantor à Leipzig.
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