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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.
The chorale cantata for Reformation Day (31 October) Ein feste Burg ist unser Gott, BWV 80, originated in several stages: [6] The chorale cantata apparently retained most, if not all, movements of the Alles, was von Gott geboren cantata (BWV 80a), written in Weimar. The libretto of this early version of the BWV 80 cantata survives, but its ...
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.
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.
Wachet auf, ruft uns die Stimme ('Awake, calls the voice to us'), [1] BWV 140, also known as Sleepers Awake, is a church cantata by Johann Sebastian Bach, regarded as one of his most mature and popular sacred cantatas. He composed the chorale cantata in Leipzig for the 27th Sunday after Trinity and first performed it on 25 November 1731.
Jesu, nun sei gepreiset BWV 41 Chorale cantata by J. S. Bach Thomaskirche, Leipzig Occasion New Year's Day Chorale "Jesu, nun sei gepreiset" by Johannes Hermann Performed 1 January 1725 (1725-01-01): Leipzig Movements 6 Vocal SATB choir and solo Instrumental 3 trumpets timpani 3 oboes 2 violins viola violoncello piccolo da spalla continuo Jesu, nun sei gepreiset (Jesus, now be praised), BWV 41 ...
Within a few years, the format was combined with other pre-existing liturgical formats such as the chorale concerto, resulting in church cantatas that consisted of free poetry, for instance used in recitatives and arias, dicta and/or hymn-based movements: the Sonntags- und Fest-Andachten cantata libretto cycle, published in Meiningen in 1704 ...
For an overview of such resources used by Bach, see individual composition articles, and overviews in, e.g., Chorale cantata (Bach)#Bach's chorale cantatas, List of chorale harmonisations by Johann Sebastian Bach#Chorale harmonisations in various collections and List of organ compositions by Johann Sebastian Bach#Chorale Preludes. 10 BD