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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]
In music, a chorale prelude or chorale setting is a short liturgical composition for organ using a chorale tune as its basis. It was a predominant style of the German Baroque era and reached its culmination in the works of J.S. Bach , who wrote 46 (with a 47th unfinished ) examples of the form in his Orgelbüchlein , [ 1 ] along with multiple ...
Name of the chorale prelude, by J. S. Bach unless otherwise indicated Work page at Bach Digital website: 2 BWV Number of the composition in the Bach-Werke-Verzeichnis: Description of the chorale prelude 3 Zahn Zahn number of the hymn tune used in the chorale prelude. [18] Description of the Lutheran hymn or tune: 4 Other
Title page of the 1740s first edition of the Schübler Chorales. Sechs Chorale von verschiedener Art: auf einer Orgel mit 2 Clavieren und Pedal vorzuspielen (lit. 'six chorales of diverse kinds, to be played on an organ with two manuals and pedal'), commonly known as the Schübler Chorales (German: Schübler-Choräle), BWV 645–650, is a set of chorale preludes composed by Johann Sebastian Bach.
The Neumeister Collection is a compilation of 82 chorale preludes found in a manuscript copy produced by Johann Gottfried Neumeister (1757–1840). When the manuscript was rediscovered at Yale University in the 1980s it appeared to contain 31 previously unknown early chorale settings by Johann Sebastian Bach, which were added to the BWV catalogue as Nos. 1090–1120, and published in 1985.
Bach structured the cantata in seven movements, setting the first stanza as a chorale fantasia, the second stanza in the central movement in the style of a chorale prelude, and the third stanza as a four-part chorale. He set the new texts as dramatic recitatives and love-duets, similar to contemporary opera.