A motet in the Baroque is by definition a freely composed piece of music with an episodic character. Originally this was a purely vocal genre but after 1600 instruments were sometimes added for accompaniment. In principle a simple and clear definition. Yet the genre has enormous richness and variation.
Below are some examples from different national traditions. First the German-language tradition with Bach, followed by the Bohemian with Zelenka, the Italian with Leonarda, the French with Gervais and finally the Spanish tradition with Baquedano.
Bach: Motetten BWV 225-230
This introduction starts with none other than Johann Sebastian Bach (1685-1750). This German-language composer is well known for his instrumental toccatas to his vocal passions. In his extensive repertoire Bach's six motets are merely a marginal genre. He composed the works to be performed during funeral services. The sung Bible texts are Psalms or passages from Romans or Isaiah and are combined with exegesis passages from Lutheran chorales.
Bach did not compose these motets in the common musical language of his time. Instead, he harks back to the Kantoren-Motette, a style that was popular with the — as Professor David Burn noted — Sch-composers: Schein, Schütz and Scheidt. This creates a stylistic contrast between Bible and chorale text. Traditionally the Bible text is placed in a four-part setting and the exegesis receives a contrapuntal treatment. What distinguishes Bach's motets, however, is that he also ingeniously uses other compositional techniques to create contrast between the two text sections.
La Chapelle Harmonique under the direction of Valentin Tournet released a sublime recording of these motets on cd earlier this year. Interpretation and intonation are central. With sensitive expression and subtle virtuosity, they bring the masterworks to life.
Zelenka: Solo Motets
Jan Dismas Zelenka (1679-1745) was originally a Bohemian composer and double bass player but is less well known before his move to Dresden. He probably received his first musical training from his father, who was a cantor in a town near Prague. He likely continued his studies at the Prague conservatory before moving to Dresden around 1710 or 1711, where he was engaged as a bass player in the court chapel of August the Strong.
While the young Bohemian earned his living as a double bass player, he devoted himself to the art of counterpoint with Antonio Lotti, Alessandro Scarlatti and Johann Joseph Fux. And as Dresden developed into the center of Catholic church music in the German-speaking countries in the 1720s, Zelenka's works were performed with increasing frequency. He composed 27 responsoria, about ten masses and several psalm settings. His first motets Lamentationes pro hebdomada sancta (1722, ZWV 53) also date from this period.
A solo motet from this collection, No. 3. "Lamentationes Pro Die Jovis Sancto" [track 06], is masterfully performed on the cd Zelenka: Solo Motets by countertenor Alex Potter. With attention to text expression, phrasing and text intelligibility, he conveys the charm of Zelenka's motet. The chosen program brings together early and later works. The evolution in style with later motets such as Alma redemptoris Mater (1736, ZWV 126) [track 02] and Christe Eleison (1740, ZWV 29) [track 05] is thus clearly audible. The uniqueness of each style and period is performed by Potter as subtly as the lamentation.
Leonarda: Solo & Duo Motets
Despite its small scope, Isabella Leonarda's (1620-1704) motet repertoire displays remarkable variety. From solo works in arioso style to dramatic duets, cantata-like solo singing and motets with extensive instrumental accompaniment — Isabella seemed to experiment with this centuries-old genre. And on the cd Leonarda: Solo & Duo Motets the performers emphasize this diversity even more.
"Queste ch'a consagro" from Motetti a voce sola, Opera XV (1690) is an example of cantata-like solo singing. "Bonum est confiteri Domino" from Motetti a una, due, tre e quattro voci, e alcuni con due violini,Opera VII (1677) has a completely different style. It is an example of a duet. In this motet various textures are explored with the two vocal parts. "Quam dulcis es quam cara" from Motetti a una, due e tre voci, con violini e senza, Opera XIII (1687) is remarkable for other key features. It is a motet for solo voice and viols. For the structure of this vocal composition Leonarda borrows techniques from the instrumental repertoire. Namely, Leonarda makes use of a ritornello principle — a technique that was popular for concertos and sonata da camera. This cross-pollination between vocal and instrumental translates into her other vocal works and her instrumental music.
Gervais: Grand motets pour Louis XV
Actually, Charles-Hubert Gervais (1671-1744) never wanted to write religious music at all. The young Frenchman wanted to follow in Lully's footsteps and compose secular music. Yet Gervais received the position of Sous-Maître of the royal music chapel and was thus also saddled with the task of writing religious music for the French court.
In total, Gervais composed no fewer than 45 grands motets. They are all dramatic and follow a simplified form of his predecessor Michel-Richard Delalande (1657-1726). So no complex construction but instead clear structures that focus the listener's attention on the text. But Gervais approached the text quite differently from the way Delalande did. The Latin text was a libretto for Gervais. Possibly because of the imposed position, the composer tried this way to remain connected with opera. The chosen texts are narrative and Gervais makes almost a mini-oratorio out of them. Dramatic passages, lyrical reflections and explicit text expression in every verse propel the narrative line.
The label Château du Versailles selected some of Gervais' motets and bundled them on the cd Gervais: Grand motets pour Louis XV. The result is a performance of high level. The programme is beautifully composed, bringing together four remarkable motets in a tasteful performance.
Baquedano: Música para la catedral de Santiago
Spanish Baroque all too often remains on the margins. Unjustly! The music of José de Baquedano (1642-1711) proves this all too well. This composer was connected with the cathedral of Santiago de Compostella from 1681 to 1711. He moved from Madrid to the then still small Santiago and became maestro de capilla of the cathedral. However, Baquedano had bad timing. Just before his departure, Charles II of Spain devalued the currency. The wealthy Santiago, which could maintain no fewer than 36 musicians, had to downsize. Baquedano lived from his arrival in Santiago until his death there in financial crisis.
Despite the financial setback, Baquedano managed to maintain a high musical level. This is also reflected in his own compositions. Contemporaries described him as skilled and knowledgeable in music and the arts. Today's musicologists can confirm this. Because of the conditions Baquedano set for his clients, most of his work has been preserved and today's musicologists can confirm contemporary opinions about its exceptional quality.
Yet there are few performances and thus few recordings of Baquedano's work. The reviewed album Baquedano: Música para la catedral de Santiago sung by La Grande Chapelle under the direction of Albert Recasens is therefore more than welcome. With a selection of Latin motets, psalms and laments, they compile a programme based on the Vesper service for the Virgin. Choir director Albert Recasens proves that he has a good grasp of the repertoire and the characteristic Baquedano style. The symbiosis between traditional polyphony, Italian melodies and bold chromaticism that characterizes the music, Recasens manages to accentuate with sublime nuance.
Information
Bach: Motetten BWV 225-230
- WHO: La Chapelle Harmonique conducted by Valentin Tournet
- WHAT: Bach: Motetten BWV 225-230
- LABEL: Château de Versailles Spectacles (CVS067)
- ORDER: JPC
Zelenka: Solo Motets
- WHO: Alex Potter [countertenor], Capriccio Barockorchester conducted by Dominik Kiefer
- WHAT: Zelenka: Solo Motets
- LABEL: Christophorus (CHR77463)
- ORDER: JPC
Leonarda: Solo & Duo Motets
- WHO: Robert Crowe [soprano], Sandra Röddiger [soprano], Emanuele Breda [violin], Barbara Mauch-Heinke [violin], Daniela Wartenberg [cello], Toshinori Ozaki [theorbo], Sofya Gandilyan [harpsichord]
- WHAT: Leonarda: Solo & Duo Motets
- LABEL: Toccata TOCC0655
- ORDER: JPC
Gervais: Grand motets pour Louis XV
- WHO: Choeur du Concert Spirituel, Les Ombres conducted by Sylvain Sartre
- WHAT: Gervais: Grand motets pour Louis XV
- LABEL: Château de Versailles Spectacles (CVS073)
- ORDER: JPC
Baquedano: Música para la catedral de Santiago
- WHO: La Grande Chapelle conducted by Albert Recasens
- WHAT: Baquedano: Música para la catedral de Santiago
- LABEL: Lauda (LAU022)
- ORDER: JPC