Index to References to Bach Cantatas & Other Vocal Works
Bach Compendium
Work Group C: Motets

Group Description

Work Group C comprises the motets for double and single choirs as well as relevant arrangements of works by other composers. The works within these subdivisions are organized chronologically, whenever possible. Dating clues are missing for C 4, C 6, and C 8. References to motet-like movements in the cantaths and other vocal works will also be found; manuscript transmission of such individual movements is known for → A 15, A 41, A 98, and A 152.

According to the available evidence concerning his estate (Obituary, Dok III, p.86; Bach Reader, p.221), Bach is reported to have written »several motets for double choir«. According to Forkel (Bach Reader, P.361), Bach wrote »a great many motets, primarily for the Choir of the Thomas School in Leipzig« and trained his students »with motets for single, double, and multiple choirs.« The scope and whereabouts of this repertoire are nevertheless unknown.

In contemporary usage and terminology, the concept of the motet varies widely (A 13 and B l and B 25 - B 26, for example, are specifically designated as »Motetto«; → General Index). In the present context, the term applies to all settings of biblical verses, chorale strophes, and (occasionally) freely-composed poetry that are set principally for vocal ensembles without obbligato instrumental accompaniment, excepting of course the usual complement for Basso continuo.

The liturgidal functions of Bach's motets are largely unclear but appear not to have been restricted exclusively to the musical needs of special occasions such as funeral services, etc. Only C 2 can be positively identified as a funeral motet, although the textual content of C 3 - C 5 strongly suggests this function as well (cf. also C 9 and B 23a/b). The Psalm motets C 1, C 6, and C 7, together with repeated documented performances of works from the »Alt-Bachisches Archiv« (→ X 1ff.), point to other uses as well, possibly in connection with Vesper services (cf. also the motets → Work Group V by Johann Christoph Altnickol and Georg Gottfried Wagner falsely ascribed to Bach but certainly performed in Leipzig before 1750).

The Leipzig Thomas School continued to perform Bach's own motets after 1750, following the tradition of Bach's time of incorporating older motets into its repertoire (cf. the performance of C 1 in the presence of Mozart in 1789 as well as the documented replacement of performance parts for several of the motets up to approximately 1800).

Synopsis - List by Group and BC Number - Work Group C

BC

BWV

BGA

NBA

Year

Title / Comments

Motets for Double Choir

C 1

225

XXXIX

III/1

1726-27

Singet dem Herrn ein neues Lied

C 2

226

XXXIX

III/1

1729

Der Geist hilft unser Schwachheit auf

C 3

229

XXXIX

III/1

<1733

Komm, Jesu, Komm!

C 4

228

XXXIX

III/1

1708-17

Fürchte dich nicht

Addendum

C 9

Anh 159

-

III/3

<1714

Ich lasse dich nicht, du segnest mich denn

Motets for Single Choir

C 5

227

XXXIX

III/1

<1735

Jesu, meine Freude

C 6

230

XXXIX

III/1

?

Lobet den Herrn alle Heiden

B 23a/b

118

XXIV

III/1

1736-1737
1746-1747 ?

O Jesu Christ, mein’s Lebens Licht

Arrangements of Works by Other Composers

C 7

Anh 160

Jauchzet dem Herrn, alle Welt → A 20, Work Group X

C 8

-

Der Gerechte kömmt um → D 10, Work Group X

C 10

1088

-

-

?

Motets of Doubtful Authencity

→ Work Group T

Spurious Motets

→ Work Group V

Motet-like Movements in Other Vocal Works

A 13/1

121/1

XXVI

I/3.1

Christum wir sollen loben schon

A 15/1

64/1

XVI

I/3.1

Sehet, welch eine Liebe hat uns der Vater erzeiget

A 20/2

28/2

V/1

I/3.2

Nun lob, mein Seel, den Herren → C 7

A 40/1

14/1

II

I/6

Wär Gott nicht mit uns diese Zeit

A 41/1

144/1

XXX

I/7

Nimm, was dein ist, und gehe hin

A 54a/b/5

4/5

I

I/9

Es war ein wunderlicher Krieg

A 86/5

68/5

XVI

I/14

Wer an ihn gläubet, der wird nicht gerichtet

A 72/4

108/4

XXIII

I/12

Wenn aber jener, der Geist der Wahrheit

A 98/1

2/1

I

I/16

Ach Gott, vom Himmel sieh darein

A 99a-c/9

21/9

V/1

I/16

Sei nun wieder zufrieden, meine Seele

A 121/1

179/1

XXXV

I/20

Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei → E 4/1

A 152/1

38/1

VII

I/25

Aus tiefer Not schrei ich zu dir

A 183b/1

80/1

XVIII

I/31

Ein feste Burg ist unser Gott

B 1/3

71/3

XVIII

I/32.1

Dein Alter sei wie deine Jugend

E 1^I/3, E 2/3

232^I/3

VI

II/1

Kyrie eleison

E1^II/1

232^II

VI

II/1

Credo in unum Deum

E1^II/7

232^II

VI

II/1

Confiteor

E 4/1

236/1

VIII

II/2

1738-39

Kyrie eleison → A 121/1

E 6/1

233/1

VIII

II/2

1738-39?

Kyrie eleison

E 7

233a

XLI

II/2

1708-17?

Kyrie "Christe, di Lamm Gottes"

E 9

1081

-

1747-48

Credo in unum Deum

E 13/3

243a/3

XI/3

II/3

1723

Vom Himmel hoch da komm ich her

E 13/7

243a/7

XI/3

II/3

1723

Freut euch und jubiliert

E 13/15

243a/14

XI/3

II/3

1723

Sicut locutus est → E 14/11

E 14/11

243/11

XI/3

II/3

1728-31

Sicut locutus est → E 13/15

--

Source: Volume 1, Part 3: Vocal Works III (contains the works of groups B, C and D),
Leipzig 1988, ISBN 3-369-00033-4 or Frankfurt / M. 1988, ISBN 3-876-26083-3, pp 944, 946-947
Prepared by Aryeh Oron & David O. Berger [Concordia Seminary Library, St. Louis, MO, USA] (September 2009)