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Track(s) taken from CDH55417

Lobet den Herrn, BWV230

before 1751: date unknown but earliest source is 1821 Breitkopf edition
author of text
Psalm 117

The Sixteen, Harry Christophers (conductor)
Recording details: April 1989
All Hallows, Gospel Oak, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell
Release date: July 1990
Total duration: 6 minutes 40 seconds

Cover artwork: Interior of St Gommar, Lierre (1850) by David Roberts (1796-1864)
Reproduced by permission of The Wallace Collection, London
Lobet den Herrn, alle Heiden  [5'10]
Halleluja  [1'30]

Other recordings available for download

Voces 8, The Senesino Players
Doubt has been cast on the authenticity of the four-part Lobet den Herrn, a setting of the short Psalm 117, for the earliest source is a Breitkopf edition of 1821. But it is difficult to see who else could have written such a vigorous, compact yet expansive work, cast in true motet style as a series of contrapuntal points within one long movement, to which is appended a contrasted triple time Alleluia.

from notes by Peter Holman © 1990

Un doute a, en effet, été jeté sur l’authenticité du motet à quatre parties Lobet den Herrn, une mise en musique du court psaume 117, car la plus ancienne source dont nous disposons est une édition Breitkopf de 1821. Mais l’on voit mal qui d’autre aurait pu écrire une pièce aussi vigoureuse, compacte mais expansive, coulée dans un authentique style de motet en une série de points contrapuntiques disposés au sein d’un long mouvement, auquel est joint un Alléluia ternaire contrasté.

extrait des notes rédigées par Peter Holman © 1990
Français: Hypérion

Im Falle der vierstimmigen Motette Lobet den Herrn, eine Vertonung des kurzen Psalms 117, ist sogar lange Zeit hinweg die Autorschaft bezweifelt worden, da die älteste Quelle eine Breitkopf-Ausgabe von 1821 ist. Umgekehrt lässt sich aber nicht sagen, wer sonst ein so lebhaftes, kompaktes und doch weitläufiges Stück im wahren Motettenstil mit einer Reihe von Kontrapunkten innerhalb eines langen Satzes, dem ein kontrastierendes Halleluja im Dreiertakt angehängt ist, hätte schreiben können.

aus dem Begleittext von Peter Holman © 1990
Deutsch: Viola Scheffel

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