J. S. Bach's Eighteen
Leipzig Chorale Preludes
The 'Chorale Prelude' was an important musical form during Bach's time, and he left a great many fine examples. Organists in the German Lutheran churches in that period were expected to improvise short preludes prior to the singing of hymns (or 'Chorales') at appropriate points during the worship, the aim being to prepare the congregation both spiritually and musically for the coming hymn. In the hands of lesser organists, these would be little more elaborate than simple play-overs, but in hands of the best players, this developed into quite an art form in its own right.
Bach was a great improviser at the organ, and had little need himself to write down choral preludes. However, he was also a teacher, and felt the need to provide examples for his pupils (and others) to study. During his life, Bach only had two sets of choral preludes published, the 'Schubler Chorales' and the 'Clavierübung part 3'. His other major collections of chorales, the Orgelbuchlein and the 18 Chorale Preludes, were left unpublished.
These 18 choral preludes were completed during the last few years of Bach's life, in Leipzig. He evidently attached much importance to them, as he gave up finishing The Art of Fugue in order to concentrate on revising and perfecting these pieces. Many of the pieces exist in early versions dating from Bach's years at Weimar. These pieces are mostly quite lengthy works, far exceeding in length what would normally be expected for a simple prelude in the middle of a service. It is however known that Bach often used such pieces in his recitals.
So here they are then - Bach's 18 Chorale
Preludes.
1.Fantasia on "Komm, heiliger Geist, Herre Gott" (BWV 651)
In F major, and of gigantic proportions. Based on an arpeggio motif, representing the Holy Spirit. The chorale is thundered out on the pedals in long notes.
2.Komm, heiliger Geist, Herre Gott (Alio modo) (BWV 652)
A large chorale, leisurely (perhaps lethargically ?) developing each line of the choral fugally, the last entry in each case being the highly ornamented theme in the soprano.
3.An Wasserflüssen Babylon (BWV 653)
A river gently flowing by, willows shaking gently in the breeze, and the weeping of the Jews suggested by twinges of bitter harmony. The ornamented chorale is in the tenor.
4.Schmücke dich, o liebe Seele (BWV 654)
A simple chorale of great beauty and simplicity, based on a communion hymn. Reputed to be much loved by Schumann.
5.Herr Jesu Christ, dich zu uns wend (BWV 655)
A delectable trio, babbling like a brook. The arpeggio theme pervading this work (even in the pedal) is supposed to represent the Holy Spirit descending on the apostles at Pentecost.
6. O Lamm Gottes unschuldig (BWV 656)
Bach has created here an exultation of
theTrinity, as per the threefold invocation 'O Lamb of God...' in
the Agnus Dei.
Verse 1 has the theme on the soprano, representing the Father soaring over the world. In Verse 2, the theme appears in the tenor - the Son, in amongst the world. Verse three has the theme in the pedals, bringing the work to a majestic conclusion.
7. Nun danket all Gott (BWV 657)
The left hand and pedals provide a fugal framework over which the tune soars in majestic splendour.
8. Von Gott will Ich nicht lassen (BWV 658)
In the dark key of F minor. Beautiful and dreamy, with an underlying hint of joy in the knowledge that God will never leave us.
9. Nun komm' der Heiden Heiland (BWV 659)
A slow and marvelous ornamented chorale, illustrating the various nuances of the words.
10. Trio on "Nun komm' der Heiden Heiland" (BWV 660)
The choral appears in the soprano, over two dancing low voices. I've orchestrated this here for oboe, bassoon and 'cello.
11. Nun komm', der Heiden Heiland (In Organo Pleno) (BWV
661).
The choral tune is majestically played on
the pedals, under a glorious fugal accompaniment.
The following three chorales on 'Allein Gott'
are another Trinitarian trilogy.
12. Allein Gott in der Höh' sei Ehr (BWV 662)
Adagio, with the ornamented tune in the soprano. Complex rhythms and ornaments bring out the themes of accepted suffering and joy, followed by a closing improvised cadence recalling discord, and final peace.
13. Allein Gott in der Höh' sei Ehr (BWV 663)
Cantabile. The music is full of note groups symbolising the cross.
14. Trio on Allein Gott in der Höh' sei Ehr (BWV 664)
A brilliant and joyous trio exalting the Holy Spirit. Other than brief fragments earlier, the choral tune is only heard towards end in the pedal part, and then only the first two phrases are used.
15. Jesus Christus, unser Heiland (BWV 665)
The chorale is heard in both the soprano and pedal.
16. Jesus Christus, unser Heiland (BWV 666)
For manuals only, except for a single low pedal note at the close.
Bach's sight was failing rapidly while working on this piece, and his student Altnikol takes over the writing to his master's dictation in the middle, as the words reach an illustration of suffering and death.
17. Komm, Gott Schöpfer, heiliger Geist (BWV 667)
For Organo Pleno. The theme appears twice. First in the soprano, and then, after a short coda, in the pedal.
18. Vor deinen Thron tret' ich allhier (BWV 668)
Much refined during several re-writes, we have
here a chorale of great outward simplicity and beauty.
Tradition has it that this is Bach's last composition, written
during the last days of his life and dictated to his student
Altnikol. Bach by this time was totally blind, and very ill, yet
he still manages to manipulate complex counterpoint, and even
signs his own name in the music. The first phase of the choral is
presented in 14 notes (14 = BACH 2 + 1 + 3 + 8) and whole choral
occupies 41 notes (JSBACH).