9.3 The chorale prelude and its development
3 min read•july 18, 2024
The was a key genre in organ music. It was based on and served to introduce congregational singing or as standalone pieces. Composers used various techniques to present and elaborate on the chorale melody.
The genre evolved from simple settings in the early 17th century to complex works by later composers. J.S. Bach's chorale preludes represent the pinnacle of the form, showcasing intricate , inventive , and profound emotional depth.
The Chorale Prelude in German Baroque Organ Music
Role of chorale prelude
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Lutheran Musical Heritage: Organ Chorale Preludes of Walther, Bach and Buxtehude : Anthony Mark ... View original
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Choral Prelude on 'Surrey' (Rowley, Alec) - IMSLP: Free Sheet Music PDF Download View original
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Chorale Prelude and Fugue on 'O Traurigkeit, o Herzeleid', WoO 7 (Brahms, Johannes) - IMSLP ... View original
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Lutheran Musical Heritage: Organ Chorale Preludes of Walther, Bach and Buxtehude : Anthony Mark ... View original
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Top images from around the web for Role of chorale prelude
Lutheran Musical Heritage: Organ Chorale Preludes of Walther, Bach and Buxtehude : Anthony Mark ... View original
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Choral Prelude on 'Surrey' (Rowley, Alec) - IMSLP: Free Sheet Music PDF Download View original
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Chorale Prelude and Fugue on 'O Traurigkeit, o Herzeleid', WoO 7 (Brahms, Johannes) - IMSLP ... View original
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Lutheran Musical Heritage: Organ Chorale Preludes of Walther, Bach and Buxtehude : Anthony Mark ... View original
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Choral Prelude on 'Surrey' (Rowley, Alec) - IMSLP: Free Sheet Music PDF Download View original
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- Organ composition based on pre-existing chorale melody (Lutheran hymn tunes sung by congregation)
- Presents chorale melody () in long notes in one voice while other voices provide contrapuntal elaboration and ornamentation around it
- Serves as introduction to congregational singing during church services by establishing key, meter, and mood of chorale
- Functions as standalone piece for organ recitals and concerts
- Central genre in German Baroque organ music showcasing composers' compositional skills and creativity
Development of chorale prelude
- Emerged in early 17th century coinciding with rise of Lutheran church music (works by and )
- Expanded in mid-17th century by composers like Franz Tunder and Dieterich Buxtehude introducing more complex contrapuntal techniques and expressive ornamentation
- Further developed in late 17th century by using fugal techniques and canon
- Culminated in works of J.S. Bach representing pinnacle of genre in German Baroque era
- Bach composed over 150 chorale preludes exploring wide range of compositional techniques and expressive possibilities
- Known for intricate counterpoint, inventive ornamentation, and profound emotional depth
Compositional Techniques and Styles in Chorale Preludes
Techniques in chorale preludes
- Cantus firmus technique presents chorale melody in long notes, usually in soprano or bass voice, while other voices provide contrapuntal elaboration
- Ornamentation embellishes chorale melody with various ornaments and figurations (trills, mordents, turns, scalar runs) to highlight important words or phrases in chorale text
- Fugal techniques incorporate elements of (, subject-answer relationships) to introduce chorale melody or develop motives derived from it
- uses two-voice texture with cantus firmus in one voice and more active counterpoint in the other
- treats each phrase of chorale as separate point of imitation similar to motet
- uses three independent voices often with cantus firmus in middle voice
- alternates between sections featuring chorale melody and freer, episodic passages
Composers' approaches to chorale preludes
- Samuel Scheidt and Heinrich Scheidemann use relatively simple, four-voice textures with cantus firmus in soprano and limited ornamentation and contrapuntal elaboration
- Franz Tunder and Dieterich Buxtehude employ more complex contrapuntal techniques (fugal expositions, imitative entries), greater ornamentation and figurations, and experiment with different textures (bicinium, trio)
- Johann Pachelbel frequently uses fugal techniques (canon, stretto) and tends towards clear, balanced formal structure
- J.S. Bach displays unparalleled variety and inventiveness in approach to chorale prelude composition
- Masterfully uses all aforementioned techniques, often in combination
- Profoundly expresses chorale text through musical symbolism and word-painting
- Explores diverse textures from simple four-voice settings to complex, multi-sectional works
Key Terms to Review (24)
Affect: Affect in the context of Baroque music refers to the emotional expression conveyed through musical elements and structures. This concept emphasizes the ability of music to evoke specific feelings and moods, which became a driving force behind compositions during this era, leading to innovations in vocal and instrumental styles.
Bicinium: Bicinium refers to a musical composition written for two voices, often characterized by a rich interplay of melody and harmony. This form was significant in the development of polyphonic music during the Renaissance and early Baroque periods, as it laid the groundwork for more complex vocal textures in later compositions, especially in the context of chorale preludes.
Cantus firmus: A cantus firmus is a fixed melody, usually derived from a Gregorian chant, that serves as the foundation for a polyphonic composition. This technique was widely used during the Middle Ages and the Renaissance and continued to be important in the Baroque period, particularly in the context of chorale preludes where composers would elaborate on this melody to create intricate harmonies and textures.
Chorale prelude: A chorale prelude is a short musical composition for organ that elaborates on a Lutheran hymn, known as a chorale. It serves both as an introduction to the hymn and as a standalone piece that showcases the organist's skill while expressing the theological message of the hymn through musical interpretation. This form became an essential part of the liturgical music during the Baroque era, particularly within the context of Lutheran worship.
Chorale Preludes by Bach: Chorale preludes by Bach are short, instrumental compositions that serve as introductions to congregational hymns, typically based on Lutheran chorales. These pieces blend elements of counterpoint and harmony, creating intricate musical settings that enhance the lyrical qualities of the chorale melodies. Bach's chorale preludes are notable for their emotional depth and technical mastery, reflecting the theological and liturgical significance of the hymns they accompany.
Counterpoint: Counterpoint is a musical technique that involves the interplay of independent melodic lines to create a harmonious texture. This method is fundamental in the development of polyphonic music, particularly in the Baroque period, influencing major composers and their contributions, as well as various musical forms and genres.
Dietrich Buxtehude: Dietrich Buxtehude was a German-Danish composer and organist of the Baroque era, known for his significant contributions to sacred music, particularly in the form of cantatas, and for his innovative keyboard works. His music combines elements of the North German organ tradition with the emerging styles of the time, influencing many later composers, including J.S. Bach. Buxtehude's works often reflect a deep spirituality and are characterized by expressive melodies and intricate counterpoint.
Fugue: A fugue is a complex musical form that features a main theme, or subject, introduced by one voice and then developed through interweaving lines that imitate the subject in different keys and voices. This intricate structure showcases the interplay of melody and harmony, making it a hallmark of Baroque music and reflecting the era's emphasis on counterpoint and thematic development.
German Baroque: German Baroque refers to the period and style of music that flourished in Germany during the Baroque era, roughly from the late 16th century to the mid-18th century. It is characterized by its elaborate ornamentation, emotional expressiveness, and the integration of religious themes, reflecting the cultural shifts and influences of the time in Germany. This style is crucial for understanding the development of various musical forms and practices that emerged during this dynamic period.
Heinrich Scheidemann: Heinrich Scheidemann was a significant German composer and organist of the late Renaissance and early Baroque periods, known for his contributions to the chorale prelude form. His work exemplified the transition from polyphonic to more homophonic textures, showcasing a blend of liturgical music with innovative harmonic structures that set the stage for future developments in sacred music.
Hymnody: Hymnody refers to the musical composition and performance of hymns, which are religious songs typically sung in worship services. It encompasses not only the creation of melodies and harmonies for hymns but also the theological and cultural contexts that shape their use. This practice has evolved significantly over time, influencing various musical forms, particularly in Lutheran traditions, where hymns played a vital role in worship and community life.
Imitation: Imitation is a compositional technique where a musical idea or motif is echoed or repeated by different voices or instruments, often creating a sense of dialogue or interaction between them. This method is essential in various forms of Baroque music, enhancing texture and complexity. Imitation contributes to the overall structure and development of musical themes, allowing composers to explore variations while maintaining cohesion in their works.
Johann Pachelbel: Johann Pachelbel was a German composer and organist of the Baroque period, best known for his contributions to keyboard music and for his famous 'Canon in D.' His work exemplifies the fusion of the intricate counterpoint style and the emerging tonal harmony, making significant contributions to both the prelude and fugue as well as the development of the chorale prelude, which showcases his ability to blend liturgical music with intricate keyboard forms.
Johann Sebastian Bach: Johann Sebastian Bach was a German composer and musician of the Baroque period, known for his intricate counterpoint, expressive melodies, and deep spiritual faith expressed through music. His works reflect the historical and cultural complexities of his time while significantly influencing the development of Western classical music.
Liturgical function: Liturgical function refers to the role that music and other artistic expressions play within religious ceremonies and worship services. It encompasses the use of music in various forms, including hymns, cantatas, and chorale preludes, to enhance spiritual experiences and facilitate congregational participation. This function is critical in creating a sacred atmosphere and supporting the specific themes or messages of the liturgy.
Lutheran hymn tunes: Lutheran hymn tunes are melodies specifically composed or adapted for congregational singing within the Lutheran tradition, often based on sacred texts or scripture. These tunes played a crucial role in the worship services of the Lutheran church, promoting participation and enhancing the theological message of the hymns.
Motet-style: Motet-style refers to a compositional technique that combines the characteristics of a motet—often polyphonic and sacred choral music—with other musical forms. It emphasizes text setting, intricate counterpoint, and the use of sacred themes, contributing to the development of chorale preludes by providing a rich tapestry of musical ideas that could enhance congregational singing and reflection.
Ornamentation: Ornamentation refers to the decorative musical embellishments that are added to melodies and harmonies to enhance expressiveness and complexity. This practice was especially prominent during the Baroque period, where it played a crucial role in vocal and instrumental music, reflecting the stylistic characteristics and performance practices of the time.
Polyphony: Polyphony is a musical texture that involves two or more independent melodic lines being played or sung simultaneously. This rich interplay of melodies creates a complex and layered sound, enhancing the overall musical experience.
Registration: Registration refers to the process of selecting and combining different sounds and ranks on an organ to create a desired tonal quality or character for a specific piece of music. This practice is crucial for organists as it affects the overall texture and emotional impact of the performance, especially in styles like chorale preludes. By varying registration, composers and performers can highlight certain voices or harmonies, making the music come alive.
Ritornello Form: Ritornello form is a musical structure commonly used in Baroque concertos, characterized by the alternation between a recurring theme (the ritornello) and contrasting episodes played by solo instruments or smaller ensembles. This form allows for thematic development while maintaining cohesion throughout the piece, reflecting the era's fascination with contrast and virtuosity.
Samuel Scheidt: Samuel Scheidt was a German composer and organist from the early Baroque period, recognized for his significant contributions to the development of the chorale prelude. His works exemplify the blend of counterpoint and melodic lines typical of the time, making him a pivotal figure in the evolution of this musical form that served as an introduction to congregational singing in Lutheran churches.
The Well-Tempered Clavier: The Well-Tempered Clavier is a collection of two volumes of preludes and fugues composed by Johann Sebastian Bach, designed to demonstrate the practicality of the equal temperament tuning system. This work is not only significant for its musical innovation but also serves as a foundational text for keyboard technique and compositional study, linking it to major composers, keyboard repertoire, and developments in choral music.
Trio texture: Trio texture refers to a musical texture featuring three distinct melodic lines or voices, which often interact with one another in a harmonious and complementary manner. This texture allows for rich polyphony, where each voice can carry its own melody while contributing to the overall sound. In the context of chorale preludes, trio texture can enhance the expressiveness and complexity of the composition, making it a prominent feature in the development of this genre.