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  • ART::MUSIC
    • 2023-2024 Concerts >
      • The Most Famous Motet
      • The Treasury of Petrus Alamire
      • Ein Kind ist uns geboren!
      • Appear and Inspire
      • The Singing Walls
      • Two Tall Tales
      • The Most Ambitious Project
    • Learning and Exploration >
      • Brombaugh Organ Exploration
      • BachTalks
      • The Choir Loft >
        • The National Anthems by David Lang - Steve Osborn
        • Heinrich Schütz Symphoniae Sacrae I from 1629
    • Tickets
    • Donate today!
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    • Sonoma Bach Choir
    • Circa 1600
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  • Support
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      • Chorale Wednesdays
      • Motet Fridays
      • Virtual Recording Projects
      • Virtual Concerts >
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        • Music for these Distracted Times - Barefoot All-Stars
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Lobt Gott ihr Christen alle gleich
Today we're looking at 'Lobt Gott ihr Christen alle gleich'. It's a Christmas chorale which was actually part of our Christmas Day Magnificat--it was the first of Praetorius' carol interpolations in that piece.

The tune of the chorale is said to be based upon a Gregorian Christmas introit called 'Puer natus est nobis'. If this is so, it's a pretty loose relationship, apart from the rising fifth which opens both tunes. But it's really fun to look at the illuminations of early versions of the introit--check out this one, for example; or this one. Here's a very interesting recording of the chant with scrolling score.

The melody and words of 'Lobt Gott ihr Christen' first appeared together in 1561, credited to Nikolaus Herman. The piece became part of the Lutheran Christmas tradition, and was provided with polyphonic settings by a number of composers, including Leonhardt Schröter and Melchior Vulpius. Here's an independent setting by J.S. Bach--a good version to use to familiarize yourself with the simple but very catchy tune. And here's Bach's one-verse setting from the Orgelbüchlein.

The setting from Praetorius' Magnificat (noted above) is one of my favorites. Here's a link to a good recording; the score is attached. In December, 2018, in our 'Let There Be Light' concerts, Circa 1600 did this version to open the show; our closing piece was an arrangement intertwining the same setting with Hugo Distler's wonderful setting of the same tune.

Somehow in a fairly short time this chorale has wormed its way into my heart--you know what I mean: the songs we know the earliest seem to be the ones that move us the most. But this one has a purity all its own, and has been a favorite since first I heard it.
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