Motet II BWV 226 (The Spirit also helpeth us) Cover Image

Motet II BWV 226 (The Spirit also helpeth us): Choral Works (inc. Oratorios)

$13.95 USD
$13.95 USD
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Motet II BWV 226 (The Spirit also helpeth us) Cover Image
Motet II BWV 226 (The Spirit also helpeth us): Choral Works (inc. Oratorios)

Motet II BWV 226 (The Spirit also helpeth us): Choral Works (inc. Oratorios)

Motet for 8-Part Mixed Double Choir - Instrumental Version

By Johann Sebastian Bach / ed. Werner Neumann and Walter E. Buszin

Item: 98-EP6102
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Description

Keyboard part by Fritz Oberdoerffer - Bach did not write figured bass for this Motet

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Additional Details
Series: Edition Peters
Publisher: Edition Peters
Page Count: 44
ISBN10: 0-30-070811-4
ISBN13: 979-0-3007-0811-9
SKU: 98-EP6102

More about this title

About the Composer: Johann Sebastian Bach

Johann Sebastian Bach (1685-1750) served as Cantor of St. Thomas Church in Leipzig from 1723 until his death, a position that required him to compose and direct music for the church's services. His sacred vocal works span cantatas, passions, masses, and motets, representing the culmination of the Baroque choral tradition. Bach's harmonic language and contrapuntal mastery set the standard for generations of composers and remain central to choral studies.

Why we love this

This motet sits at the heart of Bach's choral legacy, and the Peters edition gives you a clean, singable score with Oberdoerffer's keyboard realization. Many directors program Bach motets precisely because they reward careful preparation while remaining accessible to strong amateur choirs; this piece offers both textural clarity and harmonic depth.

What to expect

A supplication set to music of crystalline clarity. The piece unfolds with calm dignity, its steady harmonic motion and interlocking voices creating both intimacy and grandeur. There is no virtuosity for its own sake here, only the direct expression of faith through perfectly balanced counterpoint.

Who it's for

This edition serves choirs with solid reading skills and some experience with Baroque counterpoint. Mixed-voice ensembles, church choirs, and advanced high school or college programs will find this demanding but rewarding.

How to get the most out of it

  • Balance the choir's four voices by having singers mark their individual lines in rehearsal; Bach's counterpoint demands that each part be heard, not blended into anonymity.
  • Use the keyboard part as a learning tool during rehearsals, then consider whether to include it in performance based on your acoustic and aesthetic preferences.
  • Shape phrases by attention to the text underlay; Bach's word-painting is subtle, but recognizing where the music emphasizes specific words will clarify phrasing for your singers.

How to use it

Program this as an anchor work in a concert of sacred music, either alongside other Bach motets or as a centerpiece in a program exploring Baroque vocal literature. Its modest length and emotional restraint make it particularly effective as a counterpoint to larger choral works or more elaborate Baroque compositions.

Skills your students will build

  • Reading four-part counterpoint with independent voice lines
  • Sustaining accurate intonation in slower harmonic movement
  • Interpreting text underlay and word-painting in Baroque choral music
  • Balancing individual voice parts while maintaining ensemble cohesion

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