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In German, the word Choral may as well refer to Protestant congregational singing as to other forms of vocal (church) music, including Gregorian chant. [1] The English word which derived from this German term, that is chorale, however almost exclusively refers to the musical forms that originated in the German Reformation.
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.
The third stanza of the eponymous chorale in Johann Sebastian Bach's setting as the final movement of his chorale cantata Wachet auf, ruft uns die Stimme, BWV 140. A Lutheran chorale is a musical setting of a Lutheran hymn, intended to be sung by a congregation in a German Protestant Church service.
Plainchant, associated with the Catholic Church, was largely replaced with choral music sung in the vernacular language—usually German—and the corresponding musical forms from Catholic countries, such as the motet, were replaced with forms that used as their basis the chorales instead of the plainsong from which much of the motet repertory ...
Name of the cantata, by incipit (in German). Links go to the separate article on the cantata. 5 occasion Indicates for which occasion in the liturgical year Bach's church cantata was written. 6 BD Bach Digital (BD): this column contains external links to the "Bach Digital Work" pages on the cantatas at the bach-digital.de website. Such webpages ...
Schütz, the Dresden court composer. Geistliche Chormusik (Sacred choral music) is a collection of motets on German texts for choir by Heinrich Schütz.It was printed in Dresden in 1648 as his Opus Undecimum (Op. 11), and comprises 29 individual settings for five to seven voices, which were assigned numbers 369 to 397 in the Schütz-Werke-Verzeichnis (SWV).
Das Lied vom deutschen Vaterland, WAB 78, a 20-bar long work in D-flat major for men's choir composed in c. 1845.The composer of the text is unknown. Ständchen, WAB 84.2, a 29-bar long work in G major, for humming men's-voice quartet and tenor soloist, composed in c. 1846 on a text possibly by Ernst Marinelli.
The court chapel at the Schloss in Weimar where Bach was court organist. The organ loft is visible at the top of the picture. Early versions of almost all the chorale preludes are thought to date back to 1710–1714, during the period 1708–1717 when Bach served as court organist and Konzertmeister (director of music) in Weimar, at the court of Wilhelm Ernst, Duke of Saxe-Weimar. [2]