139. Jesu, Meine Freude, BWV 227

composed by Johann Sebastian Bach

The definition of “motet” is exceedingly vague. Ostensibly, it is usually a short multi-part choral piece for a small group, usually upon religious themes, and often unaccompanied by any instrumentation. Bach’s six known motets take this last point to a fascinating extreme insofar as although his motets have instrumental parts, the vocal writing is so rich and so flush against the accompaniment – organ or small chamber group – that even with a small chorus you have to listen with a great deal of concentration to be certain that there are any instruments playing under it at all. Accordingly, they are the most hermetic of this avowed Lutheran’s works – maybe not as conceptually taut as Art of the Fugue, but immeasurably more beautiful. This is the longest motet of the six, which are my favorites of Bach’s catalogue of extant works which number well over 1000. The title translates to “Jesus, My Joy” and the text is divided between Chapter 8 of Paul’s epistle to the Romans and verse by one Johann Frank: “Defiance to the old dragon, defiance to the vengeance of death, defiance to fear as well! Rage, world, and attack; I stand here and sing in entirely secure peace!”

Note: Secular essays about individual songs, each one exactly 200 words long, appearing one per day through Advant and at least semi-regularly until Donald goes away.