Although these works contain many of the musical styles associated with the Neumeister-type sacred cantata, and were performed interchangeably with that kind of concerted music in church services, Poetzsch is careful to identify these five works as chorale arrangements (Choralbearbeitungen), since the composer sets every verse of the hymns, and their chorale melodies are consistently featured as a cantus firmus in each movement.
Menke guessed that three other works belonged to this presumed set of chorale settings for Danzig: Allein Gott in der Hoh sei Ehr TVWV 1:59; Wachet auf ruft uns die Stimme TVWV 1:1488; and Wenn meine Sund mich kranken TVWV 1:1565.
There are two
chorales: the first with the soprano line singing Schein's "Machts mit mir, Gott, nach definer Gut" as cantus firmus against the tenor; the second
chorale is the final movement.
It is fairly simple to teach using a four-voice
chorale texture, which can serve as a preliminary step to the more complex application of open-score reading.
A fourth setting occurs in the form of the
Chorale Service of Holy Communion, in which classic hymns are suggested to replace texts of the Ordinary of the Mass and a few other texts.
For its members, ONE VOICE is not the only
chorale or singing group in which they are involved, but many said the group is the most fun.
As a result, commentators have until now studied their multifarious technical and stylistic aspects without taking even minimal account of the role of the
chorale texts themselves in suggesting forms of treatment.
The constituents of the LCA and ALC came from traditions that--to the extent the sixteenth-century
chorales were sung at all--used the isometric, or even-note, form of the sixteenth-century
chorales that developed during the period of Pietism.
Bass recitative and aria were vigorous and authoritative and the
chorales profoundly dig nified, but this account of Christ's birth never quite achieved the appropriate celebratory warmth.
The Verdi ``Requiem'' opened up a unique opportunity for the two outstanding county
chorales to pool their voices.
Unlike the group of settings provided for "Nun komm der Heiden Heiland," other
chorales may be provided with one or more brief intonations as well as a
chorale prelude, as, for example, the five-measure intonation by johannes Proger (b.
Donald Neuen, artistic director of the Angeles
Chorale and director of choral activities at UCLA, will direct the 8 p.
