In 1725 the feast of Purification (2 February) fell between the first and the second of these Sundays:[3], In Leipzig there was no music during Lent (starting on Ash Wednesday), except for Annunciation (25 March) and the Passion music on Good Friday. Wolff published the chorale preludes by J. S. Bach in 1985, and a facsimile of the complete collection in 1986. There are some cantatas that belong to one of both cycles, but not to the other, for instance the chorale cantata for Trinity 1727 replaces the Trinity cantata of the second cycle composed in 1725. They were first performed privately by Wilhelm Krumbach at Utrecht in January 1985, and publicly by John Ferris and Charles Krigbaum at Yale in March. That year the last Sunday after Trinity, that is the last Sunday before Advent, was Trinity XXV:[3], A new liturgical year starts with the first Sunday of Advent: when a cantata cycle is listed without taking the chronology of composition into account, this is where the list starts. Iterator¶ class music21.corpus.chorales.Iterator (currentNumber = None, highestNumber = None, numberingSystem = 'riemenschneider', ** kwargs) ¶. Weighing both textual and stylistic evidence, he proposes Johann Michael Bach as the author of all five, while allowing that one could also have been written by J. S. Bach and another by Friedrich Wilhelm Zachow. Before we can dive into a study of Bach’s cantatas, we need to learn about an important element of Lutheran sacred music: the chorale. 707–714, Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750, The New Bach Edition – Series I: Cantatas, The New Grove Dictionary of Music and Musicians, "Chapter 4 – The Most Ambitious of All Projects: Chorale Cantatas throughout the Year", https://en.wikipedia.org/w/index.php?title=Chorale_cantata_cycle&oldid=998501423, Articles with dead external links from July 2019, Articles with permanently dead external links, Creative Commons Attribution-ShareAlike License, The chorale cantata apparently retained most, if not all, movements of the. Around 40 of these were composed during his second year as Thomaskantor in Leipzig, which started after Trinity Sunday 4 June 1724, and form the backbone of his chorale cantata cycle. Although we have no account of the reception of Bach's chorale cantatas by the congregation in Leipzig, we know that some of these cantatas were the only works that the city of Leipzig was interested in keeping alive after Bach's death: his successors performed several of them. There are 52 chorale cantatas by Johann Sebastian Bach surviving in at least one complete version. 1724: The 1982 Zwang catalogue places the first performance of BWV 80's early chorale cantata version in 1724. The exact number of his settings is not yet fully determined, thanks to lost works (including cantatas), settings misattributed to Bach and the like. Born:21 March 1685 Died:28 July 1750 Biography Johann Sebastian Bach was a prolific German composer and organist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. [5][7] Wolff acknowledged that he brought his announcement forward when he learned that Krumbach was in the field. Two movements of the BWV 80 version known from the, This page was last edited on 5 January 2021, at 17:34. [150], 82 chorale preludes in a manuscript copy produced by Johann Gottfried Neumeister, 21st-century editions of Johann Sebastian Bach's. Otherwise the cycle is described as breaking off after Palm Sunday or Easter 1725. In 1878 Alfred Dörffel described this incomplete cantata cycle in the introduction of the thematic catalogue for the first 120 cantatas published by the Bach Gesellschaft. [12], The rediscovery of the Neumeister Collection quadrupled the number of keyboard works indisputably written by Johann Michael Bach, from eight to thirty-two, with six more arguably also his. In the Zwang catalogue the cantata for Reformation Day Ein feste Burg ist unser Gott, BWV 80, is inserted between the cantatas for Trinity XXI and XII, as a cantata premiered in 1724. Collections of Chorale-Settings by J. S. Bach; Manuscript collections 149 Chorales (Dittel, 1734-35) 3 Choräle zu Trauungen (1734-38) 135 Chorales (Fasch, 1762) BWV 14, and 125 were based on hymns from Eyn geystlich Gesangk Buchleyn, also published in 1524. Bach made affective use of two Christmas chorales, "Ich steh an deiner Kripen hier" and Ihr gestrin, ihr höhlen Lufte," in the Christmas Oratorio (BWV 248) for New Year's Day and the Feast of the Epiphany. In Leipzig the chorale cantatas were, after the motets, the second most often performed compositions of Bach between the composer's death and the Bach Revival. List of organ compositions by Johann Sebastian Bach § Neumeister Chorales (BWV 1090–1120). [148] The B&H edition includes 35 chorale preludes of the Neumeister Collection: apart from the four BWV numbers not adopted in the NBA edition, it additionally omits BWV 1096 (likely composed by J. Bach did not present much newly composed music for the Good Friday and Easter services of 1725. [138] Wolff has proposed that the five unattributed works in the volume could also be by Johann Michael Bach—confidently in three cases, less so in the other two.[12]. After his second year in Leipzig, he composed at least eight further cantatas for inclusion in his chorale cantata cycle. He used these in his cantatas. None of these cantatas were included in the chorale cantata cycle remaining at St. Thomas in 1830: the Easter II cantata retained in that incomplete cycle was a later composition. Bach for Breitkopf). 389 Chorale Settings Alt ernative. ", US-NH LM 4708 (Ma21 Y11 A30) "Neumeister Collection", "Authentischer Bach-Elbel: Marginalie zu einem der angeblichen Bach-Choräle der Neumeister-Sammlung", p. 4, Johann Sebastian Bach: Neue Ausgabe sämtliche Werke, Journal of the American Musicological Society, Neumeister Chorales, BWV 1090–1120 (by J. S. Bach), International Music Score Library Project, Toccata and Fugue in D minor ("Dorian"), BWV 538, Fantasia and Fugue in G minor ("Great"), BWV 542, Prelude and Fugue in E minor ("Wedge"), BWV 548, Eight Short Preludes and Fugues, BWV 553–560, Toccata, Adagio and Fugue in C major, BWV 564, Prelude (Toccata) and Fugue in E major, BWV 566, Fantasia ("Pièce d'Orgue") in G major, BWV 572, Passacaglia and Fugue in C minor, BWV 582, Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769, Capriccio on the departure of a beloved brother, Concerto transcriptions, BWV 592–596 and 972–987, List of compositions by Johann Sebastian Bach, List of fugal works by Johann Sebastian Bach, List of concertos by Johann Sebastian Bach, https://en.wikipedia.org/w/index.php?title=Neumeister_Collection&oldid=984627911, Chorale preludes by Johann Sebastian Bach, Articles with unsourced statements from July 2018, Articles with International Music Score Library Project links, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, At least 24 by Johann Michael Bach (1648–1694), cousin and father-in-law of Johann Sebastian, Around 38 by Johann Sebastian Bach (1685–1750), Nine chorales were listed in the 1950 first edition of the. Bach Chorale No.3 Ach Gott und Herr BWV 255 The modern musician who may not be so familiar with music theory and harmonic analysis will still benefit from this edition of the Bach chorales as each chord is identified above the staff with modern chord symbolism. The chorale cantata for Reformation Day (31 October) Ein feste Burg ist unser Gott, BWV 80, originated in several stages:[6], Bach composed more cantatas for his chorale cantata cycle after Trinity 1725, apparently in an effort to have a complete standard year cycle consisting exclusively of such cantatas:[3], All six of these chorale cantatas remained in the chorale cantata cycle kept at St. [4], Two chorale cantatas replacing other cantatas composed for occasions between Easter and Trinity 1725 also remained in the St. Thomas collection:[3][4], There is uncertainty regarding four additional extant chorale cantatas as to time of origin (narrowed down to late 1720s–early 1730s) and occasion, all of them using hymn text without modification, but none of them included in the chorale cantata cycle kept at St. Thomas:[3][4]. [6] Their conclusions were confirmed in January 1985 by German organist Wilhelm Krumbach [de] (1937–2005), who had been working on the same material independently, and with a fatal lack of urgency, since 1981. [139] The collection contains 40 chorales with a BWV number:[10]. 1–31 (including BWV 1096, a somewhat different version of which was known as J. Pachelbel's, from another source): Jean M. Perreault, edited by Donna K. Fitch. Russell Stinson, "Some thoughts on Bach's Neumeister Chorales" in, This page was last edited on 21 October 2020, at 04:39. Here you will find free choral/vocal scores, texts, translations, and other useful information. Concerning the chorales composed by Bach, refer to Spitta's Bach, vol. The librettist of these cantatas is unknown, but is likely the same for all three. Johann Sebastian Bach's chorale cantata cycle is the year-cycle of church cantatas he started composing in Leipzig from the first Sunday after Trinity in 1724. [1] The first of these early hymnals is the Achtliederbuch, containing eight hymns and five melodies. Possibly the idea for writing a series of chorale cantatas was inspired by the bicentennial anniversary of the first publications of Lutheran hymnals (1524). It is the only cycle of Bach cantatas that is recognisable as a group on that website. 1090–1120, and published in 1985. As such these cantatas have consecutive "K" numbers in the chronological Zwang catalogue for Bach's cantatas published in 1982. Four chorale cantatas use text and/or melody of a hymn in that early publication (BWV 2, 9, 38 and 117). Chorale Harmonisations, BWV 1-438 (Bach, Johann Sebastian) This is general page all of the chorales. Welcome to ChoralWiki, home of the Choral Public Domain Library! The eldest known cantata by Bach, an early version of Christ lag in Todes Banden, BWV 4, presumably written in 1707, was a chorale cantata. When the manuscript was rediscovered at the 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. List of the Bach's Chorales settings, with different numberings. The attribution of a few pieces in the manuscript remains uncertain:[10], From the state of the manuscript Wolff concludes that the five unattributed works were written by composers represented elsewhere in the collection, whose names were omitted by accident. [148], The Bach chorales in the Neumeister Collection attracted the interest of organists even before they were published. No. About half of the chorale harmonisations in this collection have their origin in other extant works by Bach. [147] In the 21st century facsimile renderings of the Neumeister manuscript became available on the Bach Digital website.[10]. [4], Far from seeing a chorale cantata cycle tied to Bach's second year in Leipzig, Philipp Spitta, in the 1880 second volume of his Bach-biography, described the chorale cantata as a genre Bach only converged to in his later years. [146] Of the 40 Neumeister chorales with a BWV number, four are not included in this edition: The NBA volume presented Bach's Neumeister Chorales in the order in which they occurred in the Neumeister manuscript. Christoph Wolff's 2003 edition Orgelchoräle der Neumeister-Sammlung (Organ Chorales from the Neumeister Collection), Score and Critical Commentary, Volume 9 of Series IV: Organ Works of the New Bach Edition (Neue Bach-Ausgabe, NBA), includes 36 chorales (BWV 714, 719, 737, 742, 957 and 1090–1120). Thomas. Philipp Spitta, in his 19th-century biography of the composer, praised the chorale cantatas, but failed to see them as a cycle tied to 1724–25. The St John Passion, which was a repeat performance of the previous year, now in the St. Thomas church (where Bach had initially attempted to stage its premiere), did, however, contain four new movements (BWV 244/29, 245a, 245b and 245c). [13] Like Spitta, Reginald Lane Poole (1882) and Charles Sanford Terry (1920) saw the chorale cantata as a development of the composer's later years, and failed to list more than a handful, leave alone a cycle, of such cantatas premiered between Trinity 1724 and Easter 1725 in their chronological lists of Bach's cantatas. Wikipedia article bach-chorales.com: Extra Information Publication history Publication timeline to 1843: Navigation etc. [20][1] The bach-digital.de website, managed by, among others, the Bach Archive, provided the "chorale cantata" qualification for all compositions belonging to this group (all other church cantatas at that website being indicated as "sacred cantata"). The important historical collections have their own collection pages, and only selected copies are here (371 chorales supervised by C.P.E. When the manuscript was rediscovered at the 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. The Neumeister Collection is a compilation of 82 chorale preludes found in a manuscript copy produced by Johann Gottfried Neumeister (1757–1840). The occasions for which these cantatas were written include Jubilate, Cantate, Rogate, Ascension, Exaudi, Pentecost, and Trinity:[3], None of the von Ziegler cantatas are chorale cantatas in the strict sense, although the Ascension cantata and the Pentecost Monday cantata open with a chorale fantasia. It took about a century after Spitta before Bach's cantata cycles were analysed in scholarly literature, but then Bach's ambitious project to write a chorale cantata for each occasion of the liturgical year was characterized as "the largest musical project that the composer ever undertook". A shared characteristic of these cantatas is their structure: they start with a passage from the bible (vox Christi in the last of these cantatas), followed by an Aria, then a chorale for one or two voices, Recitative, Aria, and a concluding four-part chorale. [1]. [1] After Doles, who was Thomaskantor until 1789, the practice of performing Bach cantatas in Leipzig was interrupted until Kantor Müller started to revive some of them from 1803. Possibly by J. M. Bach, the five anonymous preludes: The rediscovered manuscript prompted revisions to J. S. Bach's catalogue and reconsideration of his musical development. Only three cantatas staged between Good Friday and Trinity of 1725 became associated with the chorale cantata cycle. iii. ATTENTION: This project has been discontinued, but a new one has begun. 1898 - Leipzig: These two cantatas (BWV 128 and 68) are sometimes associated with the chorale cantata cycle,[3] especially the second one while it was included in the chorale cantata cycle that remained at St. Thomas until the 19th century.[4]. Two further chorale cantatas may belong to both cycles: the final version of Christ lag in Todes Banden, BWV 4, and the earliest version of Ein feste Burg ist unser Gott, BWV 80; it is, however, uncertain whether these versions were first presented in Bach's second year in Leipzig. [1] There the Neumeister volume lay as manuscript LM 4708 until it was rediscovered "early in 1984" by musicologists Christoph Wolff (Harvard), Hans-Joachim Schulze (Bach-Archiv Leipzig), and librarian Harold E. Samuel (Yale). The literature of the subject is considerable, and only a few of the most important modern works can conveniently be mentioned here. In fact, the repertory of the German chorale may be said to have been completed in Bach's day. [6][7][8] Krumbach was unhappy with the way things turned out. Chorale cantatas between Trinity and Easter: Later additions to the chorale cantata cycle: Christiana Mariana von Ziegler § Libretti, "O Ewigkeit, du Donnerwort, BWV 20 / O eternity, thou thunderous word", Johann Sebastian Bach: Correspondance Catalogues Zwang — Schmeider, Thematisches Verzeichniss der Kirchencantaten No. Bach's second year cycle of cantatas is complete apart from the cantatas for Christmas II, Epiphany IV–VI, and Trinity IV, VI, XII and XXVI–XXVII. Even a merging of both cycles into one, with some occasions having two cantatas, which hardly can be seen as an intention of the composer, would still be missing a few cantatas (e.g. [3], Some time after 1807 the manuscript passed to Christian Heinrich Rinck (1770–1846),[4] whose library was bought by Lowell Mason in 1852. For arrangements, new editions, etc. Another 1524 hymnal is the Erfurt Enchiridion: BWV 62, 91, 96, 114, 121 and 178 are based on hymns from that publication. All further second cycle cantatas had Christiana Mariana von Ziegler as librettist. Bach worked these chorales or hymn tunes into many of his church cantatas, and the three movements from Cantata 140 Wachet auf all make use of the chorale tune on which that cantata is based. Of the chorale cantatas composed up to Palm Sunday 1725 only K 77, 84, 89, 95, 96 and 109 (BWV 135, 113, 130, 80, 115 and 111) were not included in the chorale cantata cycle that was still extant in Leipzig in 1830. Together with the Orgelbüchlein, the Schübler Chorales, the third book of the Clavier-Übung and the Cano… CPDL was founded in December 1998, ported to ChoralWiki in August 2005, and incorporated in May 2010 as a U.S.A. 501 (c) (3) tax-exempt charitable organization. Title Composer Bach, Johann Sebastian: I-Catalogue Number I-Cat. [21], Development of the second cantata cycle and the chorale cantata cycle, Chorale cantatas composed as part of the second annual cycle (Trinity I 1724 to Palm Sunday 1725), Easter Monday to the second Sunday after Easter, Cantatas with a libretto by C. M. von Ziegler: third Sunday after Easter to Trinity 1725, Chorale cantatas composed after Trinity 1725, Occasions without an extant second cycle cantata. Neither the second cantata cycle, nor the chorale cantata cycle are complete annual cycles as extant. The performance parts of 44 chorale cantatas were about all that was left of Bach's music in the St. Thomas church by 1830. Sechs Chorale von verschiedener Art: auf einer Orgel mit 2 Clavieren und Pedal vorzuspielen (lit. [5][149] Later the same year, Joseph Payne made the world-premiere recording for Harmonia Mundi at St. Paul's Church in Brookline, Massachusetts, working from a photostat of the Yale manuscript, and Werner Jacob made the first recording of the Wolff edition for EMI-Angel on a restored Johann Andreas Silbermann organ at Arlesheim cathedral. On Easter, 1 April 1725, Bach had two cantatas performed: There are three extant Bach cantatas premiered in the period from Easter Monday to the second Sunday after Easter 1725. After Mason's death in 1873, his collection was acquired by Yale University in New Haven, Connecticut. The most complete 18th century publication of chorales by J. S. Bach is Carl Philipp Emanuel Bach's edition in four volumes, published by Breitkopffrom 1784 to 1787. In 1725 Annunciation coincided with Palm Sunday:[3], After this cantata the consecutive set of chorale cantatas breaks off. It followed the cantata cycle he had composed from his appointment as Thomaskantor after Trinity in 1723. Bach composed a further 13 cantatas in his second year at Leipzig, none of them chorale cantatas, although two of them became associated with the chorale cantata cycle. These cantatas are also the only ones for which Bach appears to have collaborated with this librettist. [136] Of the twenty-five pieces attributed to him in the manuscript, seven were known but had been credited to other composers and eighteen were entirely new, making this the largest single trove of his work. [13][16][17], The three editions of the Bach-Werke-Verzeichnis (BWV) that appeared in the second half of the 20th century gave little attention to the cycles of Bach's cantatas: the principles for assigning BWV numbers, as laid down by Wolfgang Schmieder for the catalogue's first edition in 1950, didn't result in the chorale cantatas being identifiable as a group or cycle in the catalogue. The chorale features heavily in the works of J.S. Many of these chorales in four-part harmonies are sung as hymns today in German Protestant churches, and some of the tunes are used in English-speaking countries as well. [5] After satisfying themselves that the manuscript was genuine, they announced the discovery in December 1984. [1] It has been suggested that the 77 earliest works in the collection may have been copied from a single source, possibly a Bach family album put together in J. S. Bach's early years. [145] They provide a new window on his formative years as a composer and cast the chorale preludes in the Orgelbüchlein, previously considered his earliest essays in the form, in a fresh light: the Orgelbüchlein pieces are not the work of a precocious beginner, but of an already practised hand. [18] In the New Bach Edition cantatas were grouped by liturgical function (occasion), so also in that edition the chorale cantatas did not come out as a group or cycle. (English edition). Organ preludes attributed to Bach found at Yale, "Opus 33: Who really found Bach preludes? 1–120, "Cantatas for the First Sunday after Trinity / St Giles Cripplegate, London", "6. Apart from some cantatas composed after Palm Sunday 1725, the chorale cantata cycle and the second cantata cycle overlap, and the two designations are often used interchangeably in scholarly literature. for Easter 3 and Trinity XXVI). In the period following Johann Sebastian Bach's death in 1750, apart from the publication of The Art of Fugue in the early 1750s, the only further publications prior to the 1790s were the settings of Bach's four-part chorales.In 1758 Friedrich Wilhelm Marpurg was the first to start preparing a published edition of Bach's four-part chorales, but in 1763 was prevented by royal duties. Bach continued to compose chorale cantatas after his second year in Leipzig, at least up to 1735. [4] The period from Advent 1724 to Epiphany 1725 included Christmas (25 December), New Year (1 January) and Epiphany (6 January):[3], In Leipzig concerted music was not allowed for the second to fourth Sunday of Advent (silent time), so the next cantatas in the cycle are those for Christmas:[3], In 1725 the next occasion was Epiphany, while there was no Sunday between New Year and Epiphany:[3], There were six Sundays between Epiphany and Lent in 1725:[3], The three last Sundays before Ash Wednesday are called Septuagesima, Sexagesima and Estomihi. [5][9], The Neumeister Collection contains 82 chorales, most of them unpublished before the 1980s re-evaluation of the Neumeister manuscript. Besides the four varied uses of the melody in Cantata 122, Bach blended or overlapped chorales from one season to the next. Two previously known only from fragments: Thirty-one previously unknown works (BWV 1090–1120) now identified as the Neumeister Chorales Nos. [14][15] Questionable chronologies and minor differences aside, they followed in Spitta's footsteps praising Bach's so-called "later" chorale cantatas as an epitome of the composer's art. Pachelbel). "Individually transmitted Choral Settings" in Vol. In 1728 Reformation Day again coincided with Trinity XXIII: a. Bach's ultimate BWV 80 version originated some time after the 80b version, and was completed before it was copied in the 1740s. Johann Sebastian Bach 's earliest extant compositions, works for organ which he possibly wrote before his fifteenth birthday, include the chorales BWV 700, 724, … Although he introduced no new forms, he enriched the prevailing German style with a robust contrapuntal technique, a control of harmonic and motivic organization from the smallest to the largest scales, and the adaptation of rhyth… Bach, among other composers of his time. [4], In 1724 the period of the Sundays after Trinity included St. John's Day (24 June), Visitation (2 July, that year coinciding with Trinity IV), St. Michael's Day (29 September) and Reformation Day (31 October). [2] The five works by Neumeister's own music teacher, Georg Andreas Sorge, were a later addition. Johann Sebastian Bach used many chorale tunes, usually adding harmony of his own. The typical four-part setting of a chorale, in which the sopranos (and the congregation) sing the melody along with three lower voices, is known as a chorale harmonization. This is a class for iterating over many Bach Chorales. 159: Johann Sebastian Bach 1802 Sacred Motets 8 SATB.SATB In dulci jubilo, BWV 368: Johann Sebastian Bach 1535 Anonymous Sacred Chorales 4 SATB Jesu, Jesu, du bist mein, BWV 357: Johann Sebastian Bach 1736 Anonymous [137] This remains the case even if, as some have suggested, one of the chorales that appears under his name would have been composed by Johann Heinrich Buttstett. [19], In the 21st century Klaus Hofmann has termed the cycle "the largest musical project that the composer ever undertook: the 'chorale cantata year'". For most of the occasions that lack a cantata in the second cycle there are however extant chorale cantatas. Reinmar Emans and Matthias Schneider, editors (2018). Two chorales of the first edition of the BWV catalogue are no longer generally associated with J. S. Bach: The other thirty-eight works are most often attributed to J. S. Bach, and are sometimes referred to as the Arnstädter Chorales. Johann Sebastian Bach's chorale cantata cycle is the year-cycle of church cantatas he started composing in Leipzig from the first Sunday after Trinity in 1724. [5], The first Sunday after Easter, Quasimodogeniti, concludes the Octave of Easter, and the next Sunday is called Misericordias Domini:[3]. [3], Newly composed cantatas, to make the year cycle complete up to Trinity Sunday, were no longer in the chorale cantata format, possibly because Bach lost his librettist, likely Andreas Stübel, who died on 31 January 1725. Also, some cantatas traditionally seen as belonging to the chorale cantata cycle are not chorale cantatas in a strict sense, for instance the cantata for the Sunday between New Year and Epiphany added to the chorale cantata cycle in 1727. [146] The 2018 last two volumes of Breitkopf & Härtel (B&H)'s new Urtext edition of Bach's organ works included them in alphabetical order, that is, together with other chorale preludes transmitted independently of the collections collated by the composer. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Some of these may have been intended for a wedding ceremony and/or as a generic cantata that could be used for any occasion. In casual modern usage, this term also includes classical settings of such hymns and works of a similar character. Christoph Wolff, "Bach's organ music: studies and discoveries". A chorale was originally a Lutheran hymn sung by the entire congregation. 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