Search results
Results From The WOW.Com Content Network
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.
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.
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 ...
A cantata (/ k æ n ˈ t ɑː t ə /; Italian: [kanˈtaːta]; literally "sung", past participle feminine singular of the Italian verb cantare, "to sing") is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir.
Chorale cantata – Church cantata based on a chorale. Chorale concerto – Short sacred composition for one or more voices and instruments. Chorale fantasia – Composition that elaborates on a chorale melody, often with intricate counterpoint. Chorale monody – Chorale for solo voice and accompanying instruments, usually basso continuo.
BWV 58, although not fully conforming to the chorale cantata format, was a later addition to the chorale cantata cycle (there hadn't been a Sunday between New Year and Epiphany in 1725). [3] 3 – Third cycle or "between the third and the fourth cycles", [9] 5 January 1727: Ach Gott, wie manches Herzeleid, BWV 58 (early version, incomplete)
The new cantatas Bach composed for Easter of 1725 and afterwards were not chorale cantatas: 1725: BWV 249, early version (later versions known as the Easter Oratorio but the 1725 version was a cantata) * 6 * 42 * 85 * 103 * 108 * 87 * 128 * 183 * 74 * 68 * 175 * 176
The only chorale cantata of the third cycle, Lobe den Herren, den mächtigen König der Ehren, BWV 137, follows the omnes versus style and sets all stanzas of a hymn unchanged; Bach rarely used this style in his chorale cantatas, except in the early Christ lag in Todes Banden, BWV 4, and later chorale cantatas. [11]