Johann Ludwig Bach, a distant cousin of Johann Sebastian, held important positions at the court in Meiningen from 1703 until his death in 1731. He had some interaction with his cousin, who apparently performed a number of Ludwig’s cantatas while in Leipzig. The works in question here, 10 of Ludwig’s 11 surviving motets, can’t really be compared to the masterpieces by Sebastian, except that the majority of them are for double-SATB choir (four of Sebastian’s are similarly scored) and are of relatively substantial proportions, built from Biblical passages and original, sometimes numerous, strophic texts. Ludwig employs surprising, inventively varied textures and frequent rhythmic shifts along with text-inspired expressive devices (he’s not afraid to use rests or short phrase lengths) to ensure a natural, staunchly flowing momentum that sustains performer energy and listener interest.
Although much of the music is homophonic, there are many notable polyphonic passages and at least one full-fledged fugal ending–the marvelous conclusion to the Christmas motet Uns ist ein Kind geboren (the text familiar from Handel’s Messiah–“For unto us a child is born…”). Choral singing predominates (and it’s a joy to hear this choir sing!), although there are some sections for soloists–a tenor and, in one of the more unusual motets, a virtuoso part for bass. There are many beautiful melodic passages, some of which sound almost like bits of chorale tunes; the scoring–which includes a viol consort and organ–is absolutely masterful, yielding a very satisfying vibrant, rich-textured sound that these performers convey with unfailing commitment and polished ensemble technique. The sound, from a church in Belgium, is absolutely ideal in every way. Listeners interested in German sacred music will be delighted for this rare chance to hear such uniquely wrought and eloquently performed examples of late-17th-century motet style. Strongly recommended! [8/13/2007]
