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. In the early 19th century, six motets (BWV 225, 228, Anh. īach'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. 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. Another possible use is a pedagogical one. 160 (whether or not the piece is attributable to Bach) suggests a performance at Christmas. The text of Jauchzet dem Herrn, alle Welt, BWV Anh. 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. Several of the motets were written for funerals. Bach, and if so was probably composed during his Weimar period.īWV 228 is another motet which appears to have been written at Weimar, between 17, the others having been composed in Leipzig. 159, which was formerly attributed to Bach's older cousin Johann Christoph Bach, appears to be at least partly by J.S.
A seventh motet, Ich lasse dich nicht, BWV Anh. 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. 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.
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