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All further extant chorale cantatas were composed in Leipzig. There Bach started composing chorale cantatas as part of his second cantata cycle in 1724, a year after having been appointed as Thomaskantor. Up to at least 1735 he amended that cycle transforming it into what is known as his chorale cantata cycle.
A chorale cantata is a church cantata based on a chorale—in this context a Lutheran chorale. It is principally from the German Baroque era. The organizing principle is the words and music of a Lutheran hymn. Usually a chorale cantata includes multiple movements or parts. Most chorale cantatas were written between approximately 1650 and 1750.
Bach's chorale harmonisations are all for a four-part choir (SATB), but Riemenschneider's and Terry's collections contain one 5-part SSATB choral harmonisation (Welt, ade! ich bin dein müde, Riemenscheider No. 150, Terry No. 365), not actually by Bach, but used by Bach as the concluding chorale to cantata Wer weiß, wie nahe mir mein Ende, BWV 27.
Bach structured the cantata in six movements and scored it for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble of a horn (Co) to reinforce the chorale tune in the outer movements, flauto traverso (Ft), oboe d'amore (Oa), two violins (Vl), viola (Va), violone (Vo) and basso continuo.
Herr Gott, dich loben alle wir (Lord God, we all praise you), [1] BWV 130, is a chorale cantata by Johann Sebastian Bach for the Feast of archangel Michael (German: Michaelis; 29 September). It is based on Paul Eber 's 1554 Lutheran hymn about the angels in twelve stanzas " Herr Gott, dich loben alle wir ", to a melody known in English as Old ...
The cantata begins with a chorale fantasia. [4] Unusually, the ritornello is not immediately followed by the chorale melody, but by a three-part or even four-part imitative preparation. The first phrase of the chorale melody appears in the soprano over further imitation in the lower voices and by staccato chords in the accompaniment.
The cantata is based on Martin Luther's 1524 hymn " Mit Fried und Freud ich fahr dahin" and forms part of Bach's chorale cantata cycle, written to provide Sundays and feast days of the liturgical year with cantatas based on a related Lutheran hymn.
It is the first cantata he composed for his second annual cycle which was planned to contain chorale cantatas, each based on a Lutheran hymn. The cantata is focused on Johann Rist's 1642 hymn "O Ewigkeit, du Donnerwort", with a chorale melody by Johann Schop.