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Chorale of the Week!
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Each week, Sonoma Bach's Music Director Robert Worth will choose one of our favorite Bach Chorales, each a brilliant miniature of Bach's astonishing craft, for us all to learn at our own pace. Your mission (should you choose to accept it) is to learn to sing your part and then join your voice with the voices and instruments of the professional recording.
We will provide the score and translations, a midi practice track, and a professional recording, all listed below.
We will provide the score and translations, a midi practice track, and a professional recording, all listed below.
Meine Seele wartet from Aus der Tiefe, Cantata 131 by J.S. Bach
This week's chorale is unusual--it's not a four-part homophonic setting.
Rather, it is a creative illustration of the concept of cantus firmus,
a preëxisting tune used as a structural element in a newly-written composition.
The piece is Bach Cantata 131: Aus der Tiefe, a 1707 setting of Martin Luther's translation of Psalm 130. The work is structured in five movements: Movements 1, 3 and 5 are scored for the tutti ensemble (choir, oboe, strings and continuo); movements 2 and 4 are soloistic, scored for tenor, oboe and continuo (movement 2), and bass and continuo (movement 4).
Each of the two soloistic movements uses the chorale 'Herr Jesu Christ, du höchstes Gut' as a cantus firmus. In the second movement, the chorale is sung by the sopranos of the choir, while in the fourth movement, the altos carry the tune. In each case, the soloist, singing the psalm text, provides the essential continuity; periodically, it is joined by the chorale tune, a haunting commentary.
Our focus today is on movement 4. The tenor sings the bare psalm verse: 'From one morning-watch to the next, my soul waits for the Lord', while the altos' ghostly chorale verse serves as a gloss and expansion upon the protagonist's inner state as he/she waits: 'I am an anxious sinner rankled by conscience, who would so gladly be washed and purified'. The continuo supports and frames this dialog.
Bach used the same tune as a cantus firmus in another movement, from Cantata 21: Ich hatte viel Bekümmerniß. Definitely worth a listen. Soprano, alto and bass begin the movement, while the tenor enters a little later with our chorale tune.
You will all be altos for this chorale (men can choose their octave). As usual, I am attaching score with text/translation; a recording; and Andrea's pronunciation recording. I have omitted midi files because we're all singing the unison cantus firmus, which should be fairly easy to learn.
This week's chorale is unusual--it's not a four-part homophonic setting.
Rather, it is a creative illustration of the concept of cantus firmus,
a preëxisting tune used as a structural element in a newly-written composition.
The piece is Bach Cantata 131: Aus der Tiefe, a 1707 setting of Martin Luther's translation of Psalm 130. The work is structured in five movements: Movements 1, 3 and 5 are scored for the tutti ensemble (choir, oboe, strings and continuo); movements 2 and 4 are soloistic, scored for tenor, oboe and continuo (movement 2), and bass and continuo (movement 4).
Each of the two soloistic movements uses the chorale 'Herr Jesu Christ, du höchstes Gut' as a cantus firmus. In the second movement, the chorale is sung by the sopranos of the choir, while in the fourth movement, the altos carry the tune. In each case, the soloist, singing the psalm text, provides the essential continuity; periodically, it is joined by the chorale tune, a haunting commentary.
Our focus today is on movement 4. The tenor sings the bare psalm verse: 'From one morning-watch to the next, my soul waits for the Lord', while the altos' ghostly chorale verse serves as a gloss and expansion upon the protagonist's inner state as he/she waits: 'I am an anxious sinner rankled by conscience, who would so gladly be washed and purified'. The continuo supports and frames this dialog.
Bach used the same tune as a cantus firmus in another movement, from Cantata 21: Ich hatte viel Bekümmerniß. Definitely worth a listen. Soprano, alto and bass begin the movement, while the tenor enters a little later with our chorale tune.
You will all be altos for this chorale (men can choose their octave). As usual, I am attaching score with text/translation; a recording; and Andrea's pronunciation recording. I have omitted midi files because we're all singing the unison cantus firmus, which should be fairly easy to learn.
Was Gott tut das ist wohlgetan from Cantata 99
Today's Wednesday chorale (sorry about that) is an old favorite. Many of you will recall it from an all-Bach show we did in Spring, 2014. It's the final chorale from Cantata 99: Was Gott tut das ist wohlgetan.
Here's a link to the entire cantata on YouTube. You gotta check out the first movement, with the cantus firmus over the soprano, accompanied by the rest of the choir, with introductory and connecting concerto-like sections from the orchestra. It will make you happy. The final chorale is a wonderful, straight-ahead 4-part harmonization.
Today's Wednesday chorale (sorry about that) is an old favorite. Many of you will recall it from an all-Bach show we did in Spring, 2014. It's the final chorale from Cantata 99: Was Gott tut das ist wohlgetan.
Here's a link to the entire cantata on YouTube. You gotta check out the first movement, with the cantus firmus over the soprano, accompanied by the rest of the choir, with introductory and connecting concerto-like sections from the orchestra. It will make you happy. The final chorale is a wonderful, straight-ahead 4-part harmonization.
L'innamorato by Giovanni Gastoldi & In dir ist Freude by J.S. Bach
This week's chorale is a wonderful oddball. As far as is documented, it began life as a balletto by Giovanni Gastoldi, with a text on life and love, happiness and fulfillment. (See score attached.) Here's a nice performance by the Baltimore Consort. (They played our Guest Concert several seasons ago.) Listen to it a few times to get to know the simple (and singable) tune.
The reason I say 'As far as is documented' is that some scholars think that the tune was originally a German dance tune which wended its way south to Italy. If so, it wended right back to Germany and became a chorale (though an unusual one) called 'In dir ist Freude'. Here's a wonderful arrangement and performance for your enjoyment, by the Knabenchor Hannover and Capella de la Torre. Check out the flute solo...
And eventually it found its way into Bach's Orgelbüchein, a collection of 40 short organ chorales (originally planned to be many more) from his Weimar period. A score is attached; as you'll see and hear, it's not very vocal in nature! But I think you'll enjoy following along as you listen to this very nice performance, with scrolling score. Check out the repeating bass motive, which personifies the most extroverted and ebullient joy.
Once you hear the piece, many of you will remember that it was one of Charles' solo pieces on our Germany tour. I'll never forget the Arnstadt ('Where Bach is Hot') concert, when Charles kicked in the Zimbelstern.
Joy indeed!
This week's chorale is a wonderful oddball. As far as is documented, it began life as a balletto by Giovanni Gastoldi, with a text on life and love, happiness and fulfillment. (See score attached.) Here's a nice performance by the Baltimore Consort. (They played our Guest Concert several seasons ago.) Listen to it a few times to get to know the simple (and singable) tune.
The reason I say 'As far as is documented' is that some scholars think that the tune was originally a German dance tune which wended its way south to Italy. If so, it wended right back to Germany and became a chorale (though an unusual one) called 'In dir ist Freude'. Here's a wonderful arrangement and performance for your enjoyment, by the Knabenchor Hannover and Capella de la Torre. Check out the flute solo...
And eventually it found its way into Bach's Orgelbüchein, a collection of 40 short organ chorales (originally planned to be many more) from his Weimar period. A score is attached; as you'll see and hear, it's not very vocal in nature! But I think you'll enjoy following along as you listen to this very nice performance, with scrolling score. Check out the repeating bass motive, which personifies the most extroverted and ebullient joy.
Once you hear the piece, many of you will remember that it was one of Charles' solo pieces on our Germany tour. I'll never forget the Arnstadt ('Where Bach is Hot') concert, when Charles kicked in the Zimbelstern.
Joy indeed!
Aus tiefer Not schrei ich zu dir - Johann Hermann Schein
Aus tiefer Not schrei ich zu dir - Baltasar Resinarius
Today, you will find not one but two settings of this week’s chorale, ‘Aus tiefer Not schrei ich zu dir’. Neither of these settings is by Bach, though he did write compositions based upon this chorale, including his Cantata 38 (1724) from his second Leipzig cantata cycle. Rather, I’m focusing upon two very different, much earlier settings. To top it off, I am including a special lagniappe which I think you’ll enjoy.
The text for ‘Aus tiefer Not’ is Martin Luther’s poetic paraphrase of Psalm 130 (‘De profundis’); as far as we know, the melody was written by Luther as well, though it’s possible that (as in many other cases) he adapted the tune from an earlier version. The melody is striking for its Phrygian mode and for its dramatic opening gesture. The B section vaults to the relative major, then resides back through the Phrygian lowered-second degree to the final.
Our first version of the tune is by Johann Hermann Schein (1586—1630), an exact contemporary of Heinrich Schütz. Schein’s Cantional is a treasure trove of Lutheran chorale settings, some quite succinct, others more extended. His ‘Aus tiefer Not’ is a straightforward setting, much like Bach’s chorales, with the melody in the soprano and in a generally homophonic texture. Schein harmonizes the A section in the key of A minor (each phrase closing on A major). The bridge begins in A, moves through G; only at the end do we hear a real Phrygian cadence on E.
Our second version is by Baltasar Resinarius (c.1486—1567), a contemporary of Luther. Though a century earlier, his setting sounds (in terms of counterpoint) more more modern than Schein’s, with imitative and smoothly flowing contrapuntal lines in a very active texture. This is actually the norm in early chorale settings; the simpler homophonic texture which we know so well through Bach’s chorales (and as demonstrated in Schein’s ‘Aus tiefer Not’) only became standard much later.
Another difference between the settings is that Resinarius hews much more closely than Schein to the modal character of the chorale melody. All of Resinarius’ full cadences are on the Phrygian final of C (the piece has been transposed up from E for the sake of the altos.) This rather antique element combines in a compelling way with the contrapuntal design noted above. And finally, the lagniappe: A spectacular jazz rendition of ‘Aus tiefer Not’ by the German trio Continuum, from their CD of arrangements of Lutheran chorales, ‘Terra Mofino’ (an anagram of ‘Reformation’).
Aus tiefer Not schrei ich zu dir - Baltasar Resinarius
Today, you will find not one but two settings of this week’s chorale, ‘Aus tiefer Not schrei ich zu dir’. Neither of these settings is by Bach, though he did write compositions based upon this chorale, including his Cantata 38 (1724) from his second Leipzig cantata cycle. Rather, I’m focusing upon two very different, much earlier settings. To top it off, I am including a special lagniappe which I think you’ll enjoy.
The text for ‘Aus tiefer Not’ is Martin Luther’s poetic paraphrase of Psalm 130 (‘De profundis’); as far as we know, the melody was written by Luther as well, though it’s possible that (as in many other cases) he adapted the tune from an earlier version. The melody is striking for its Phrygian mode and for its dramatic opening gesture. The B section vaults to the relative major, then resides back through the Phrygian lowered-second degree to the final.
Our first version of the tune is by Johann Hermann Schein (1586—1630), an exact contemporary of Heinrich Schütz. Schein’s Cantional is a treasure trove of Lutheran chorale settings, some quite succinct, others more extended. His ‘Aus tiefer Not’ is a straightforward setting, much like Bach’s chorales, with the melody in the soprano and in a generally homophonic texture. Schein harmonizes the A section in the key of A minor (each phrase closing on A major). The bridge begins in A, moves through G; only at the end do we hear a real Phrygian cadence on E.
Our second version is by Baltasar Resinarius (c.1486—1567), a contemporary of Luther. Though a century earlier, his setting sounds (in terms of counterpoint) more more modern than Schein’s, with imitative and smoothly flowing contrapuntal lines in a very active texture. This is actually the norm in early chorale settings; the simpler homophonic texture which we know so well through Bach’s chorales (and as demonstrated in Schein’s ‘Aus tiefer Not’) only became standard much later.
Another difference between the settings is that Resinarius hews much more closely than Schein to the modal character of the chorale melody. All of Resinarius’ full cadences are on the Phrygian final of C (the piece has been transposed up from E for the sake of the altos.) This rather antique element combines in a compelling way with the contrapuntal design noted above. And finally, the lagniappe: A spectacular jazz rendition of ‘Aus tiefer Not’ by the German trio Continuum, from their CD of arrangements of Lutheran chorales, ‘Terra Mofino’ (an anagram of ‘Reformation’).
Aus tiefer Not by Johann Hermann Schein
Aus tiefer Not by Baltasar Resinarius
Christ ist Erstanden BWV 276
One of the great things about sending out these pieces for you to peruse and learn and sing with is that not only do I get to share some of my favorite music, but I also get to discover (and then share) some of my new favorite pieces. This week's chorale is one of those. It's a setting of 'Christ ist erstanden', an ancient hymn adapted from the great Easter sequence 'Victimae paschali laudes'. Many of you will recognize the first phrase, derived from the Latin source and passed through to Martin Luther's so-called 'bettering' of the old hymn, 'Christ lag in Todesbanden'. The latter of course is a pillar of the repertoire; but 'Christ ist erstanden' can stand on its own two feet, for sure.
The sturdy phrases are gathered into three distinct sections, each ending with 'Kyrieleis'. The sections are each different, and the first two build relentlessly to the final section, beginning 'Alleluia! Alleluia!' The 'Kyrieleis' which closes each section identifies the song as a 'Leise'. Some of you will remember this chorale as a sort of returning theme from our Seraphim concert, in settings by Arnoldus von Bruck and Michael Praetorius.
The present setting is truly amazing. I can't believe I didn't already know it! It's one of Bach's freestanding chorale settings--that is to say, it's not from any surviving cantata (though quite possibly it originated in a lost cantata or motet). It's filled with chromatism, jagged leaps, great interactions between alto and tenor, and has one of the most wide-ranging and awesome bass parts ever.
For the first time with the chorales, the attached materials include a German pronunciation recording, graciously made by Andrea. She even included a little lesson in distinguishing between the various pronunciations of 'er'. Also included, as usual, are score, text/translation, recording, midi file containing all parts, and individual midi files for each section.
Dig in! Listen first, then learn your part, and sing along at least on 'doo'. Then (if you need to)learn the German pronunciation, and give that a whirl.
One of the great things about sending out these pieces for you to peruse and learn and sing with is that not only do I get to share some of my favorite music, but I also get to discover (and then share) some of my new favorite pieces. This week's chorale is one of those. It's a setting of 'Christ ist erstanden', an ancient hymn adapted from the great Easter sequence 'Victimae paschali laudes'. Many of you will recognize the first phrase, derived from the Latin source and passed through to Martin Luther's so-called 'bettering' of the old hymn, 'Christ lag in Todesbanden'. The latter of course is a pillar of the repertoire; but 'Christ ist erstanden' can stand on its own two feet, for sure.
The sturdy phrases are gathered into three distinct sections, each ending with 'Kyrieleis'. The sections are each different, and the first two build relentlessly to the final section, beginning 'Alleluia! Alleluia!' The 'Kyrieleis' which closes each section identifies the song as a 'Leise'. Some of you will remember this chorale as a sort of returning theme from our Seraphim concert, in settings by Arnoldus von Bruck and Michael Praetorius.
The present setting is truly amazing. I can't believe I didn't already know it! It's one of Bach's freestanding chorale settings--that is to say, it's not from any surviving cantata (though quite possibly it originated in a lost cantata or motet). It's filled with chromatism, jagged leaps, great interactions between alto and tenor, and has one of the most wide-ranging and awesome bass parts ever.
For the first time with the chorales, the attached materials include a German pronunciation recording, graciously made by Andrea. She even included a little lesson in distinguishing between the various pronunciations of 'er'. Also included, as usual, are score, text/translation, recording, midi file containing all parts, and individual midi files for each section.
Dig in! Listen first, then learn your part, and sing along at least on 'doo'. Then (if you need to)learn the German pronunciation, and give that a whirl.
O Mensch bewein dein Sünde groß - Sigismund Paminger
Yes, it's Wednesday: Chorale of the Week Day! I'm kind of going rogue here, because (gasp!) this is not a Bach chorale. It is a setting of a tune which we already know and love, though, in versions by Bach (and also, last Fall, by Michael Praetorius).
But the composer here is not so famous. He's called Sigismund Paminger, the son of a much better-known (though not exactly a household name [yet]) composer, Leonhard Paminger. Sigismund edited the complete works of his father, and inserted within the multi-volume collection a single composition of his own, this stunning setting of
'O Mensch bewein dein Sünde groß'. The wonderful recording is by the German quartet Stimmwerck.
Since you know the tune already, you will appreciate the special features of this arrangement: Flowing Renaissance counterpoint; canonic passages between soprano and tenor; spare modal harmonies. It seems somehow to be the perfect piece for this moment, music to assuage our fears and anxieties and to bring much-needed balm to our souls.
Yes, it's Wednesday: Chorale of the Week Day! I'm kind of going rogue here, because (gasp!) this is not a Bach chorale. It is a setting of a tune which we already know and love, though, in versions by Bach (and also, last Fall, by Michael Praetorius).
But the composer here is not so famous. He's called Sigismund Paminger, the son of a much better-known (though not exactly a household name [yet]) composer, Leonhard Paminger. Sigismund edited the complete works of his father, and inserted within the multi-volume collection a single composition of his own, this stunning setting of
'O Mensch bewein dein Sünde groß'. The wonderful recording is by the German quartet Stimmwerck.
Since you know the tune already, you will appreciate the special features of this arrangement: Flowing Renaissance counterpoint; canonic passages between soprano and tenor; spare modal harmonies. It seems somehow to be the perfect piece for this moment, music to assuage our fears and anxieties and to bring much-needed balm to our souls.
Wachet auf ruft uns die Stimme, Cantata 140 - J.S. Bach
The main setting is the seventh movement of Cantata 140: 'Wachet auf ruft uns die Stimme'. This justly famous cantata is built around one of Philip Nicolai's famous hymns. (The other one is our beloved 'Wie schön leuchtet der Morgenstern'.) The hymn (and the cantata) is a response to the parable of the wise and foolish virgins (Matthew 25:1-13), a cautionary tale of the importance of being ready to roll when the time comes. (Like we want to be when we can finally sing together again.)
Bach's cantata is structured symmetrically around the three chorale verses:
1) Large setting of chorale verse 1
2) Tenor recitative
3) Soprano/Bass duet (with violino piccolo solo!)
4) Trio instrumental setting with verse 2 sung by tenors (later turned into a chorale prelude)
5) Bass recitative
6) Soprano/bass duet (with oboe solo)
7) Fabulous traditional 4-part setting of verse 3
And there is a bonus this week: I'm also including score and recording for the fourth movement. The noble melody (for you to sing) is here set against a very catchy tune in violas and violins, accompanied by a walking bass. If you want to hear the chorale prelude (and perhaps sing to it, too), here's a link to Rodney Gehrke's performance on the Flentrop instrument at
All Saints Episcopal in Palo Alto.
Seventh Movement
The main setting is the seventh movement of Cantata 140: 'Wachet auf ruft uns die Stimme'. This justly famous cantata is built around one of Philip Nicolai's famous hymns. (The other one is our beloved 'Wie schön leuchtet der Morgenstern'.) The hymn (and the cantata) is a response to the parable of the wise and foolish virgins (Matthew 25:1-13), a cautionary tale of the importance of being ready to roll when the time comes. (Like we want to be when we can finally sing together again.)
Bach's cantata is structured symmetrically around the three chorale verses:
1) Large setting of chorale verse 1
2) Tenor recitative
3) Soprano/Bass duet (with violino piccolo solo!)
4) Trio instrumental setting with verse 2 sung by tenors (later turned into a chorale prelude)
5) Bass recitative
6) Soprano/bass duet (with oboe solo)
7) Fabulous traditional 4-part setting of verse 3
And there is a bonus this week: I'm also including score and recording for the fourth movement. The noble melody (for you to sing) is here set against a very catchy tune in violas and violins, accompanied by a walking bass. If you want to hear the chorale prelude (and perhaps sing to it, too), here's a link to Rodney Gehrke's performance on the Flentrop instrument at
All Saints Episcopal in Palo Alto.
Seventh Movement
Fourth Movement
Du Heilige Brust from Der Geist hilft unser Schwachheit auf BWV 226
O Haupt voll Blut und Wunden (5th appearance) from St. Matthew Passion BWV 244
O Mensch bewein dein Sünde groß BWV 402
Ein feste Burg, First Movement, BWV 80 - J.S. Bach
Ein feste Burg, Final Chorale, BWV 80 - J.S. Bach
Jesus bleibet meine Freude, Herz und Mund und Tat und Leben, BWV 147
Brich an, o schönes Morgenlicht from Christmas Oratorio BWV 248
Final Chorale from Christmas Oratorio BWV 248
Ich steh an deiner Krippen hier from Christmas Oratorio BWV 248