Choir of Clare College, Cambridge
Bach Family Motets

The examples of Beethoven and Mozart demonstrate the influence that one's family of origin can have on the formation and maturation of a Composer.

This statement is even more true if, 400 years ago, one was born in Thuringia and bore the surname Bach.

More than a family, the Bachs of that time constituted a true "clan," due to the strong social relationships established between the different branches of the family tree, always in defense and support of the vicissitudes (familial or work-related) that could affect any family member.

Johann Sebastian himself dedicated part of his life to reconstructing his own family tree.

Therefore, since the early 17th century, the name "Bach" in those lands was synonymous with a high-quality and reliable compositional craftsmanship, especially with reference to the composition of Sacred Music in the service of Lutheranism. A heritage that Johann Sebastian was familiar with and from which he surely drew.

This CD is useful for discovering part of this repertoire, collecting a series of Choral Motets composed by members of the Bach family who lived between the early 1600s and the first half of the 1700s.

The earliest in time is Johann Bach (1604-1673), great-uncle of Johann Sebastian, whose one of the most beautiful Motets of this collection “Unser Leben Ist Ein Schatten” is performed, where two choral groups converse without any contrast, in full harmony, on texts of biblical origin (sample).

Following this, some Motets by Johann Christoph Bach (1642-1703) demonstrate a different formal choice, as in “Es Ist Nun Aus,” where more space is given to soloist interventions, with the Choir serving as accompaniment.

Less intimate and characterized by a more polyphonic vocal writing are the Motets of Johann Michael Bach (1648-1694), first father-in-law of Johann Sebastian, and Johann Ludwig (1677-1731), contemporary and cousin of the great Composer.

The excellent Cambridge Choir captures the distinctive performances of such Works with freshness and naturalness, accompanied by a discreet (in the sense of non-intrusive) instrumental basso continuo. Although the Choir is not one of the most renowned, the commitment and a certain familiarity with this type of repertoire stand out. The female voices are better than the male ones, decidedly more robust and refined.

The Choir Of Clare College, Cambridge – Timothy Brown (dir.), Columns Classics, 1996