Bach for Breitkopf). [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. [147] In the 21st century facsimile renderings of the Neumeister manuscript became available on the Bach Digital website.[10]. The table below gives the following information for settings of chorales by Johann Sebastian Bach. 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. [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. Bach Chorale Ach wie nichtig III in minor.mid 0.0 s; 646 bytes Bach Chorale Ach wie nichtig III in minor.png 2,119 × 682; 8 KB Bach Matthäuspassion O Haupt voll … [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. 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. He used these in his cantatas. [3], Some time after 1807 the manuscript passed to Christian Heinrich Rinck (1770–1846),[4] whose library was bought by Lowell Mason in 1852. The librettist of these cantatas is unknown, but is likely the same for all three. The literature of the subject is considerable, and only a few of the most important modern works can conveniently be mentioned here. The Neumeister Collection is a compilation of 82 chorale preludes found in a manuscript copy produced by Johann Gottfried Neumeister (1757–1840). In 1725 Annunciation coincided with Palm Sunday:[3], After this cantata the consecutive set of chorale cantatas breaks off. Pachelbel). Some of these may have been intended for a wedding ceremony and/or as a generic cantata that could be used for any occasion. [150], 82 chorale preludes in a manuscript copy produced by Johann Gottfried Neumeister, 21st-century editions of Johann Sebastian Bach's. 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. 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. [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. 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. Besides the four varied uses of the melody in Cantata 122, Bach blended or overlapped chorales from one season to the next. [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. 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. Scholarship later indicated the chorale cantata cycle as Bach's second cycle of church cantatas. 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. iii. Two previously known only from fragments: Thirty-one previously unknown works (BWV 1090–1120) now identified as the Neumeister Chorales Nos. 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]. All further second cycle cantatas had Christiana Mariana von Ziegler as librettist. [4], Bach's early biographers (his son Carl Philipp Emanuel and Johann Friedrich Agricola in the Nekrolog and Forkel in his 1802 biography) gave little or no attention to individual cantatas, and confined themselves to mentioning that Bach had composed five complete cycles of church cantatas. Together with the Orgelbüchlein, the Schübler Chorales, the third book of the Clavier-Übung and the Cano… Otherwise the cycle is described as breaking off after Palm Sunday or Easter 1725. 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. Manuscript LM 4708 in Yale University, New Haven, Connecticut (USA); the so-called Neumeister Collection. Organ preludes attributed to Bach found at Yale, "Opus 33: Who really found Bach preludes? 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 Bach Chorales (numerical) Most of these Musescore, PDF and audio files are derived from the MusicXML files created by Margaret Greentree. 1090–1120, and published in 1985. 31 chorales, BWV 1090–1120, were assigned a number in the 1990 second edition of the catalogue. 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. The performance parts of 44 chorale cantatas were about all that was left of Bach's music in the St. Thomas church by 1830. [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. [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. List of the Bach's Chorales settings, with different numberings. [1] The first of these early hymnals is the Achtliederbuch, containing eight hymns and five melodies. [1]. Sechs Chorale von verschiedener Art: auf einer Orgel mit 2 Clavieren und Pedal vorzuspielen (lit. Bach's second cantata cycle is commonly used as a synonym for his chorale cantata cycle, but strictly speaking both cycles overlap only for 40 cantatas. Neumeister compiled his manuscript after 1790. 1090–1120, and published in 1985. None [force assignment] Movements/Sections Mov'ts/Sec's: 389 chorale-settings Listing of Bach's Chorale Settings; First Pub lication. [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. [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). [2] More recently, this cantata is, however, no longer considered to have been composed in 1724. 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. This is a class for iterating over many Bach Chorales. [139] The collection contains 40 chorales with a BWV number:[10]. [6][7][8] Krumbach was unhappy with the way things turned out. [146][147], A facsimile of the entire collection was published in 1986. 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. [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. 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. 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. As such, this version of the cantata is seen as a later addition to the chorale cantata cycle. 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. 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. 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. Johann Sebastian Bach 1589 Sacred Chorales 4 SATB Ich lasse dich nicht, du segnest mich denn, BWV Anh. 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. for Easter 3 and Trinity XXVI). [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. 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. 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". Bach did not present much newly composed music for the Good Friday and Easter services of 1725. 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. These cantatas are also the only ones for which Bach appears to have collaborated with this librettist. 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. 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. [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. see (or create) separate pages for individual works linked in the General Information section below. [5][7] Wolff acknowledged that he brought his announcement forward when he learned that Krumbach was in the field. 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. Concerning the chorales composed by Bach, refer to Spitta's Bach, vol. ", 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. Title Composer Bach, Johann Sebastian: I-Catalogue Number I-Cat. [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]. Iterator¶ class music21.corpus.chorales.Iterator (currentNumber = None, highestNumber = None, numberingSystem = 'riemenschneider', ** kwargs) ¶. [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. 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. Here you will find free choral/vocal scores, texts, translations, and other useful information. 1898 - Leipzig: All extant church cantatas Bach composed for occasions from 11 June 1724 (Trinity I) to 25 March 1725 (Palm Sunday) are chorale cantatas. Russell Stinson, "Some thoughts on Bach's Neumeister Chorales" in, This page was last edited on 21 October 2020, at 04:39. 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. [5], The first Sunday after Easter, Quasimodogeniti, concludes the Octave of Easter, and the next Sunday is called Misericordias Domini:[3]. 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. [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. Chorales tend to have simple and singable tunes, because they were originally intended to be sung by the congregation rather than a professional choir. 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). 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. p. 108, 114, 287, etc. Two movements of the BWV 80 version known from the, This page was last edited on 5 January 2021, at 17:34. 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. 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. [2] The five works by Neumeister's own music teacher, Georg Andreas Sorge, were a later addition. 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. Only three cantatas staged between Good Friday and Trinity of 1725 became associated with the chorale cantata cycle. As such these cantatas have consecutive "K" numbers in the chronological Zwang catalogue for Bach's cantatas published in 1982. Neither the second cantata cycle, nor the chorale cantata cycle are complete annual cycles as extant. 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. 1724: The 1982 Zwang catalogue places the first performance of BWV 80's early chorale cantata version in 1724. Bach continued to compose chorale cantatas after his second year in Leipzig, at least up to 1735. Wolff published the chorale preludes by J. S. Bach in 1985, and a facsimile of the complete collection in 1986. The important historical collections have their own collection pages, and only selected copies are here (371 chorales supervised by C.P.E. 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. In casual modern usage, this term also includes classical settings of such hymns and works of a similar character. [citation needed] Five of them were already known from other sources: The other thirty-three were partly or wholly new: The Arnstädter Chorales are considered on stylistic grounds to be early works, probably dating from 1703 to 1707, when Bach was active at Arnstadt, and possibly even earlier. 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. First of these early hymnals is the Achtliederbuch, containing eight hymns and works of J.S 33! 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