Ehre sei Gott in der Höhe by Johann Michael Bach
Yeah, Johann Michael Bach, ho-hum, one of Bach's many musical predecessors, not the one whom Bach identified as 'the profound composer'--that was Johann Christoph Bach--but rather his brother. A mere schmear of a footnote in music history.
And yet take today's motet, 'Ehre sei Gott in der Höhe', by this same J.M. Bach. I challenge you to find a more perfect motet, a more moving setting of its famous text, a more imaginative structure, a piece with more touching details, which delights our souls more. And aren't these the true things we're seeking, the 'Deeper Magic from Before the Dawn of Time' that can grant our hearts repose and refreshment in these or any times?
Maybe this time start by just listening. Don't read the text/translation, don't look at the score, don't read what I have to say below. Just put your headphones on and click this link.
What did I tell you? I'd bet anything that you're smiling right now. Go ahead, repeat it. It's not fattening, and though it may perhaps be addictive, no harm will come of it. In fact, I'd argue that it's not only good for you, it's somehow good for the world.
The text is easily described: It begins with the angels' annunciation to the shepherds (Luke 2:14): 'Ehre sei Gott in der Höhe, und Friede auf Erden, hominibus bonae voluntatis' ('Glory be to God on high, and on earth peace, and good will to all people'). In the closing section, the final verse of Martin Luther's Christmas hymn 'Vom Himmel hoch' ('From heaven high') is introduced in the soprano part, while the lower voices accompany on the Luke text.
The structure of this antiphonal double-choir setting is built around its text. Each of the three clauses of the Luke passage is given its own distinctive melodic, harmonic and rhythmic structure, perfectly adapted to the meaning of its text: Staunch and happy and rising for the opening; smoother and falling for 'and on earth peace', with repetitions of the key word 'Friede'; energized and rhythmically snappy for 'and good will to all people'.
An important part of the magic of the motet is the way these passages are repeated and transposed and batted back and forth between the two choirs. Each passage is given multiple airings before the piece moves on, an orderly succession of thoughts and motifs. The choirs are kept distinct for some time, making the tutti passages, when they come, especially satisfying. Take a look at m. 22, for example, or 31-34; or especially the adagio at 49, in which the soprano drops out in preparation for the chorale.
And the details! Oh my, the first soprano soaring up to F-sharp in 39, or the way the second soprano sustains the D in 49 or the slow, steady increase in harmonic variety or THE ENTIRE FREAKIN' BASS LINE!
And don't forget that closing passage. The double-choir is abandoned in favor of a 1 vs. 3 structure, with the soprano soaring on the long notes of the chorale over a final recapitulation of the entire Luke text in a new way by the lower three voices.
And finally, the ending, with the soprano resting on its D while the lower voices wind down so beautifully, the passage somehow absorbing and bringing to a fitting close the energy and excitement and love and care of all that has come before. Nothing quite like it.
As usual, all the relevant materials are attached herewith. Enjoy!
Yeah, Johann Michael Bach, ho-hum, one of Bach's many musical predecessors, not the one whom Bach identified as 'the profound composer'--that was Johann Christoph Bach--but rather his brother. A mere schmear of a footnote in music history.
And yet take today's motet, 'Ehre sei Gott in der Höhe', by this same J.M. Bach. I challenge you to find a more perfect motet, a more moving setting of its famous text, a more imaginative structure, a piece with more touching details, which delights our souls more. And aren't these the true things we're seeking, the 'Deeper Magic from Before the Dawn of Time' that can grant our hearts repose and refreshment in these or any times?
Maybe this time start by just listening. Don't read the text/translation, don't look at the score, don't read what I have to say below. Just put your headphones on and click this link.
What did I tell you? I'd bet anything that you're smiling right now. Go ahead, repeat it. It's not fattening, and though it may perhaps be addictive, no harm will come of it. In fact, I'd argue that it's not only good for you, it's somehow good for the world.
The text is easily described: It begins with the angels' annunciation to the shepherds (Luke 2:14): 'Ehre sei Gott in der Höhe, und Friede auf Erden, hominibus bonae voluntatis' ('Glory be to God on high, and on earth peace, and good will to all people'). In the closing section, the final verse of Martin Luther's Christmas hymn 'Vom Himmel hoch' ('From heaven high') is introduced in the soprano part, while the lower voices accompany on the Luke text.
The structure of this antiphonal double-choir setting is built around its text. Each of the three clauses of the Luke passage is given its own distinctive melodic, harmonic and rhythmic structure, perfectly adapted to the meaning of its text: Staunch and happy and rising for the opening; smoother and falling for 'and on earth peace', with repetitions of the key word 'Friede'; energized and rhythmically snappy for 'and good will to all people'.
An important part of the magic of the motet is the way these passages are repeated and transposed and batted back and forth between the two choirs. Each passage is given multiple airings before the piece moves on, an orderly succession of thoughts and motifs. The choirs are kept distinct for some time, making the tutti passages, when they come, especially satisfying. Take a look at m. 22, for example, or 31-34; or especially the adagio at 49, in which the soprano drops out in preparation for the chorale.
And the details! Oh my, the first soprano soaring up to F-sharp in 39, or the way the second soprano sustains the D in 49 or the slow, steady increase in harmonic variety or THE ENTIRE FREAKIN' BASS LINE!
And don't forget that closing passage. The double-choir is abandoned in favor of a 1 vs. 3 structure, with the soprano soaring on the long notes of the chorale over a final recapitulation of the entire Luke text in a new way by the lower three voices.
And finally, the ending, with the soprano resting on its D while the lower voices wind down so beautifully, the passage somehow absorbing and bringing to a fitting close the energy and excitement and love and care of all that has come before. Nothing quite like it.
As usual, all the relevant materials are attached herewith. Enjoy!