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In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond. The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts".
Vespro della Beata Vergine, SV 206, is a musical setting by Claudio Monteverdi of the evening vespers on Marian feasts, scored for soloists, choirs, and orchestra. It is an ambitious work in scope and in its variety of style and scoring, and has a duration of around 90 minutes. Published in Venice as Sanctissimae Virgini Missa senis vocibus ac Vesperae pluribus decantandae, cum nonnullis sacris concentibus, ad Sacella sive Principum Cubicula accommodata, it is sometimes called Monteverdi's Vespers of 1610.
Wie schön leuchtet der Morgenstern, BWV 1, is a church cantata for Annunciation by Johann Sebastian Bach. In 1725, when the cantata was composed, the feast of the Annunciation coincided with Palm Sunday. Based on Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern" (1599), it is one of Bach's chorale cantatas. Bach composed it in his second year as Thomaskantor in Leipzig, where the Marian feast was the only occasion during Lent when music of this kind was permitted. The theme of the hymn suits both the Annunciation and Palm Sunday occasions, in a spirit of longing expectation of an arrival. As usual for Bach's chorale cantata cycle, the hymn was paraphrased by a contemporary poet who retained the hymn's first and last stanzas unchanged, but transformed the themes of the inner stanzas into a sequence of alternating recitatives and arias.
Piae Cantiones ecclesiasticae et scholasticae veterum episcoporum is a collection of late medieval Latin songs first published in 1582. It was compiled by Jacobus Finno, a clergyman who was headmaster of the cathedral school at Turku. Publication was undertaken by Theodoricus Petri Rutha of Nyland, who lived from about 1560 to about 1630. He came from an aristocratic family in Finland, and was educated at Rostock.
Christ unser Herr zum Jordan kam, BWV 7, is one of several church cantatas which Johann Sebastian Bach composed for the Feast of St. John the Baptist. He wrote it in Leipzig and led its first performance on 24 June 1724.
Guilielmus Messaus was a Flemish composer who was born and died in Antwerp.
Jesu, meine Freude, BWV 227, is a motet by Johann Sebastian Bach. The longest and most musically complex of Bach's motets, it is set in eleven movements for up to five voices. It is named after the Lutheran hymn "Jesu, meine Freude" with words by Johann Franck, first published in 1653. The motet contains the six stanzas of the hymn in its odd-numbered movements. The hymn tune by Johann Crüger appears in all of these movements in different styles of chorale settings. The text of the motet's even-numbered movements is taken from the eighth chapter of the Epistle to the Romans, a passage that influenced key Lutheran teachings. The hymn, written in the first person with a focus on an emotional bond with Jesus, forms a contrasting expansion of the doctrinal biblical text. Bach set both texts alternating with and complementing each other, in a structure of symmetries on different layers.
Peter Philips was an eminent English composer, organist, and Catholic priest exiled to Flanders in the Spanish Netherlands. He was one of the greatest keyboard virtuosos of his time, and transcribed or arranged several Italian motets and madrigals by such composers as Lassus, Palestrina, and Giulio Caccini for his instruments. Some of his keyboard works are found in the Fitzwilliam Virginal Book. Philips also wrote many sacred choral works.
Emmanuel Adriaenssen was a Flemish lutenist, composer and master of music. He authored the influential Pratum Musicum, which contains scores for lute solos, and more importantly settings of madrigals for multiple lutes and different ensembles involving lutes and voices. He also had an important influence on the next generation of lutenists through his activity as a teacher of music in his own music school.
JoannesFlorentius a Kempis was a Flemish Baroque composer and organist.
Gaspar de Verlit or Gaspar Verlit (1622–1682) was a Flemish Baroque composer active in Brussels.
Ein feste Burg ist unser Gott, BWV 80, is a chorale cantata for Reformation Day by Johann Sebastian Bach. He reworked it from one of his Weimar cantatas, Alles, was von Gott geboren, BWV 80a. The first Leipzig version of the church cantata, BWV 80b, may have been composed as early as 1723, some five months after Bach had moved to Leipzig. Some years later he reworked the cantata one more time, writing an extended chorale fantasia as its opening movement. The text of the BWV 80a version was written by Salomon Franck and contained one stanza of Martin Luther's hymn "Ein feste Burg ist unser Gott"; for his chorale cantata versions, BWV 80b and 80, Bach added the complete text of this Lutheran hymn.
Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, is a church cantata by the German composer Johann Sebastian Bach. It was composed in either 1707 or 1708, which makes it one of Bach's earliest cantatas. Some sources suggest that it could be his earliest surviving work in this form, but current thinking is that there are one or two earlier examples.
Wo gehest du hin?, BWV 166, is a church cantata by Johann Sebastian Bach for Cantate Sunday, the fourth Sunday after Easter. Bach composed the work as part of his first cantata cycle for Leipzig and first performed it on 7 May 1724.
Herr Jesu Christ, wahr' Mensch und Gott, BWV 127, is a cantata by Johann Sebastian Bach for use in a Lutheran service. He composed the chorale cantata in 1725 in Leipzig for the Sunday Estomihi, the Sunday before Lent. It is based on Paul Eber's 1582 hymn in eight stanzas "Herr Jesu Christ, wahr Mensch und Gott". Bach first performed it on 11 February 1725.
Lobe den Herrn, meine Seele, BWV 143, is an early cantata by Johann Sebastian Bach. He appears to have composed the cantata for New Year's Day, probably when he was in his 20s, but whether it was first performed in Mühlhausen or Weimar is not known: the date of composition is unclear. Bach's authorship has been doubted because the cantata has several unusual features; one of these is the scoring, it is the only Bach cantata to combine three corni da caccia with timpani.
Chöre für Doris, after poems by Paul Verlaine, is a three-movement a cappella choral composition by Karlheinz Stockhausen, written in 1950 and later given the number 1/11 in the composer's catalogue of works. The score is dedicated to the composer's future wife Doris.
Figure humaine, FP 120, by Francis Poulenc is a cantata for double mixed choir of 12 voices composed in 1943 on texts by Paul Éluard including "'Liberté". Written during the Nazi occupation of France, it was premiered in London in English by the BBC in 1945. It was first performed in French in 1946 in Brussels, then in Paris on 22 May 1947. The work was published by Éditions Salabert. Cherished as the summit of the composer's work and a masterpiece by musical critics, the cantata is a hymn to Liberté, victorious over tyranny.
O Kerstnacht, schoner dan de dagen(O Christmas Night, more beautiful than any day!) is a Dutch hymn that is usually referred to as a Christmas carol, although it does not refer to the birth of Jesus, but rather to the infanticide in Bethlehem. The poet and playwright Joost van den Vondel wrote it for the opening of the theatre Schouwburg of Van Campen in Amsterdam, the stage work Gijsbrecht van Aemstel, whose première was around Christmas 1637. It contains this song as a dance.
"Ye Choirs of New Jerusalem" or "Sing, Choirs of New Jerusalem" is an English Easter hymn by Robert Campbell. It is a 19th-century translation of the medieval Chorus novae Ierusalem, attributed to Fulbert of Chartres. The text's primary focus is the Resurrection of Jesus, taking the theme of Jesus as triumphant victor over death and deliverer of the prisoners from Hell.
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