Editing Motet (section)

==Baroque examples==
In [[Baroque music]], especially in France where the motet was very important, there were two distinct, and very different types of motet: ''petits motets'', sacred choral or chamber compositions whose only accompaniment was a [[basso continuo]]; and ''[[grands motets]]'', which included massed choirs and instruments up to and including a full orchestra. [[Jean-Baptiste Lully]], [[Michel Richard Delalande|Michel Richard de Lalande]], [[Marc-Antoine Charpentier]] were important composers of this sort of motet. Their motets often included parts for soloists as well as choirs; they were longer, including multiple movements in which different soloist, choral, or instrumental forces were employed. Lully's motets also continued the Renaissance tradition of semi-secular Latin motets in works such as ''[[Plaude Laetare Gallia]]'', written to celebrate the baptism of King [[Louis XIV of France|Louis XIV]]'s son; its text by [[Pierre Perrin]] begins:

<blockquote><poem>''Plaude laetare Gallia''
''Rore caelesti rigantur lilia,''
''Sacro Delphinus fonte lavatur''
''Et christianus Christo dicatur.''</poem>

("Rejoice and sing, France: the lily is bathed with heavenly dew. The [[Dauphin of France|Dauphin]] is bathed in the sacred font, and the Christian is dedicated to Christ.")</blockquote>

In France, [[Pierre Robert (composer)|Pierre Robert]] (24 grands motets), [[Henri Dumont|Henry Dumont]] (grands & petits motets), Marc-Antoine Charpentier (206 different types of motets), [[Michel Richard Delalande|Michel-Richard de La Lande]] (70 grands motets), [[Henri Desmarets|Henry Desmarest]] (20 grands motets), [[François Couperin]] (motets lost), [[Nicolas Bernier]], [[André Campra]], [[Charles-Hubert Gervais]] (42 grands motets), [[Louis-Nicolas Clérambault]], [[François Giroust]] (70 grands motets) were also important composers. In Germany, too, pieces called motets were written in the new musical languages of the Baroque. [[Heinrich Schütz]] wrote many motets in series of publications, for example three books of [[Symphoniae sacrae I|Symphoniae sacrae]], some in Latin and some in German. [[Hans Leo Hassler]] composed motets such as ''[[Dixit Maria]]'', on which he also based a mass composition.

=== J. S. Bach's compositions ===
{{main|List of motets by Johann Sebastian Bach}}
Six motets attributed to [[Johann Sebastian Bach]] and catalogued BWV 225–230 are relatively long pieces combining German hymns with biblical texts, several of them composed for funerals. Mostly written in ''[[a cappella]]'' style,  ''[[basso continuo]]'', with instruments playing [[colla parte]], several of them composed for funerals. The first five, for double chorus, are almost certainly composed by Bach and are written in ''[[a cappella]]'' style, though strings and oboes appear to have accompanied [[colla parte]]. ''Lobet dem Herrn'' is for [[SATB]] with ''[[basso continuo]]''.

* BWV 225 ''[[Singet dem Herrn ein neues Lied, BWV 225|Singet dem Herrn ein neues Lied]]'' (1726)
* BWV 226 ''[[Der Geist hilft unser Schwachheit auf, BWV 226|Der Geist hilft unser Schwachheit auf]]'' (1729)
* BWV 227 ''[[Jesu, meine Freude, BWV 227|Jesu, meine Freude]]'' 
* BWV 228 ''[[Fürchte dich nicht, BWV 228|Fürchte dich nicht]]'' 
* BWV 229 ''[[Komm, Jesu, komm, BWV 229|Komm, Jesu, komm]]'' (1730?)
* BWV 230 ''[[Lobet den Herrn, alle Heiden, BWV 230|Lobet den Herrn, alle Heiden]]'' (?)

The funeral [[List of Bach cantatas|cantata]] [[O Jesu Christ, meins Lebens Licht, BWV 118|''O Jesu Christ, meins Lebens Licht'', BWV 118]] (1736–37?) is regarded as a motet, though it has independent instrumental parts. The motet [[Sei Lob und Preis mit Ehren, BWV 231|''Sei Lob und Preis mit Ehren'', BWV 231]] is an arrangement of a movement from Bach's Cantata 28, and the authenticity of the arrangement is not certain. For a few more motets, such as [[Ich lasse dich nicht, BWV Anh 159|''Ich lasse dich nicht'', BWV Anh 159]], Bach's authorship is debated.