Nisi Dominus aedificaverit domum

Description

High Voice, Oboe, Continuo — The psalm text of the solo motetNisi Dominus aedificaverit domumwas widely popular and used in a variety of settings. In his C-minor setting of 1723, Heinichen enhanced the text with a formally well-rounded composition full of delightful sonorities, yet utterly faithful to its serious intent. Contrary to his setting of the same text in G minor (probably earlier, and completely autonomous) for soprano, bass, obbligato oboe and small orchestra, Heinichen expressly leaves the choice of the soloist – either soprano or tenor – to the performers, and adds a chamber-style concertante oboe to the inevitable general bass. Following the practice of the time, it is perfectly plausible to replace the oboe with a flute or violin. The likeliest continuo instrument is the organ or portative. However, a “chamber” registration would also suit the piece even in a !arger hall. When using a harpsichord, one should be aware that longer notes in the continuo realization are to be broken down into shorter note values. Tbe execution depends on the continuo player’s taste and habits, particularly since the printed realization should only be considered as a one of many possible ways of interpreting the continuo. lt should not stifle or suppress the element of improvisation. The ornaments offer a broad domain for spontaneous music-making. This edition, which offers the editor’s suggested realizations of only the most important embellishments, gives the performer a wide scope to introduce ornaments according to bis stylistic understanding and technical proficiency. Of course, it should be warned against burdening the melody with too many ornaments, or against executing the piece all too soberly and dryly. lt is essential to have an appropriate bass instrument (bassoon, violoncello, viola da gamba) even when there is an organ with strong bass registers on hand. The continuo realization has been prepared according to the guidelines given by Heinichen himself in hisDer General-Bass in der Composition(1728).