J.S. Bach – Motetten (Howard Arman) (Br-Klassik)

The motets created in Bach’s first years in Leipzig form a separate group of works that stand apart from his other sacred music: they were not intended for regular church liturgy, but for private occasions. That is why they are very individually tailored to the needs of the client or Bach’s own ideas. Together and in contrast to the modern cantatas, they have a conservative tendency and are in the tradition of vocal polyphony, which reached its peak in the 16th century. The choir is not carried by an orchestra, but only by a simple instrumental accompaniment with figured bass. To compensate for the missing orchestra, the vocal setting is even more complex and detailed than usual: all possible compositional techniques, contrapuntal and concertante, choral setting and double choirs, are used in a small space. With externally withdrawn means, Bach created music that was just as important and expressive as in his large-scale works. Bach’s motets were the first works that introduced the Bach renaissance even before the re-performance of the ‘St. Matthew Passion’ in 1829 and that have an unbroken performance tradition to this day, also because they were not created for church services, but for an early civic festival culture are. To this day, Bach’s motets represent a special artistic and interpretational challenge for every choir. On the CD from BR Klassik, the Bavarian Radio Choir sings a selection of Bach’s most famous motets under its artistic director Howard Arman: ‘Jesu, Meine Freude’ BWV 227 for five-part choir as well as the four motets for double choir ‘Singet dem Herrn ein neue Lied ‘BWV 225,’ The spirit helps our weaknesses’ BWV 226, ‘Do not be afraid, I am with you’ BWV 228 and ‘Come, Jesus, come’ BWV 229.