Jesu, meine Freude, motet for 5-part chorus, BWV 227 (BC C5): Es ist nun nichts Verdammliches
Jesu, meine Freude, motet for 5-part chorus, BWV 227 (BC C5): Unter deinen Schirme
Jesu, meine Freude, motet for 5-part chorus, BWV 227 (BC C5): Denn das Gesetz des Geistes
Jesu, meine Freude, motet for 5-part chorus, BWV 227 (BC C5): Trotz dem alten Drachen
Jesu, meine Freude, motet for 5-part chorus, BWV 227 (BC C5): Ihr aber seid nicht fleischlich
Jesu, meine Freude, motet for 5-part chorus, BWV 227 (BC C5): Weg mit allen Sch?tzen
Jesu, meine Freude, motet for 5-part chorus, BWV 227 (BC C5): So aber Christus in euch ist
Jesu, meine Freude, motet for 5-part chorus, BWV 227 (BC C5): Gute Nacht, O Wesen
Jesu, meine Freude, motet for 5-part chorus, BWV 227 (BC C5): So nun der Geist
Jesu, meine Freude, motet for 5-part chorus, BWV 227 (BC C5): Weicht, ihr Trauergeister
Der Geist hilft unser Schwachheit auf, motet for double chorus, winds, strings & continuo, BWV 226 (BC C2): Der Geist hilft unser Sch
Der Geist hilft unser Schwachheit auf, motet for double chorus, winds, strings & continuo, BWV 226 (BC C2): Sondern der Geist selbst
Der Geist hilft unser Schwachheit auf, motet for double chorus, winds, strings & continuo, BWV 226 (BC C2): Der aber die Herzen forsc
Der Geist hilft unser Schwachheit auf, motet for double chorus, winds, strings & continuo, BWV 226 (BC C2): Du heilige Brunst, s??er
F?rchte dich nicht, ich bin bei dir, motet for double chorus, BWV 228 (BC C4): F?rchte dich nicht, ich bin bei dir
F?rchte dich nicht, ich bin bei dir, motet for double chorus, BWV 228 (BC C4): Denn ich habe dich bei deinem Namen gerufen
Singet dem Herrn ein neues Lied, motet for chorus, BWV 225 (BC C1): Singet dem Herrn
Singet dem Herrn ein neues Lied, motet for chorus, BWV 225 (BC C1): Wie sich ein Vater erbarmet / Gott, nimm dich ferner unser an
Singet dem Herrn ein neues Lied, motet for chorus, BWV 225 (BC C1): Lobet den Herrn in seinen Taten
Singet dem Herrn ein neues Lied, motet for chorus, BWV 225 (BC C1): Alles, was Odem hat
Founded by Sigiswald Kuijken in 1972 to explore Baroque orchestral practice, La Petite Bande quickly established the performance standards for all who followed. Noted for their impeccable artistry, attention to detail, ... more »and refined stylish musicianship, La Petite Bande have impressed audiences and critics throughout the world with their "new" interpretations. The orchestra takes its name and constitution from Lully's own orchestra at the court of Louis XIV. All its members are internationally renowned specialists in the early music field. The German motets by J.S. Bach were written for specific occasions. They form part of the German a cappella tradition, in which the instruments play colla parte--that is, doubling the vocal parts. Bach's motets are among the high points of his output. We are told that when Mozart inspected the handwritten parts during his visit to Leipzig, he was moved to tears. Some historical research has suggested that Bach never had more than eight singers at his disposal, even for double-choir pieces, and so Sigiswald Kuijken has chosen to assign only one singer per part in this recording of the motets. Maestro Kuijken feels that the smaller vocal quartet greatly improves the clarity of the musical lines. Many recordings of the Bach motets include the four-part motet "Lobet den Herren, alle Heiden," but it has not been included here because Maestro Kuijken has serious doubts about its authorship.« less
Founded by Sigiswald Kuijken in 1972 to explore Baroque orchestral practice, La Petite Bande quickly established the performance standards for all who followed. Noted for their impeccable artistry, attention to detail, and refined stylish musicianship, La Petite Bande have impressed audiences and critics throughout the world with their "new" interpretations. The orchestra takes its name and constitution from Lully's own orchestra at the court of Louis XIV. All its members are internationally renowned specialists in the early music field. The German motets by J.S. Bach were written for specific occasions. They form part of the German a cappella tradition, in which the instruments play colla parte--that is, doubling the vocal parts. Bach's motets are among the high points of his output. We are told that when Mozart inspected the handwritten parts during his visit to Leipzig, he was moved to tears. Some historical research has suggested that Bach never had more than eight singers at his disposal, even for double-choir pieces, and so Sigiswald Kuijken has chosen to assign only one singer per part in this recording of the motets. Maestro Kuijken feels that the smaller vocal quartet greatly improves the clarity of the musical lines. Many recordings of the Bach motets include the four-part motet "Lobet den Herren, alle Heiden," but it has not been included here because Maestro Kuijken has serious doubts about its authorship.