Chorale fantasia

Chorale fantasia is a type of large composition based on a chorale melody, both works for organ, and vocal settings, for example the opening movements of Bach's chorale cantatas, with the chorale melody as a cantus firmus.

History

Chorale fantasias first appeared in the 17th century in the works of North German composers such as Heinrich Scheidemann and Franz Tunder (who, however, rarely used the term). Their works would treat each phrase of a chorale differently, thus becoming large, sectional compositions with elaborate development of the chorale melody. By mid-18th century this type of organ composition was practically non-existent.

Johann Sebastian Bach used the term first to designate a whole variety of different organ chorale types (during his period in Weimar), and then limited its use to large compositions with the chorale melody presented in the bass. Bach also wrote movements which have been described as chorale fantasias scored for various combinations of singers and instruments, for example the opening choruses of his chorale cantatas and the closing movement of Part I of the St Matthew Passion. In the vocal pieces the chorale cantus firmus is often given to an upper voice.

In the 19th century the chorale fantasia was revived by Max Reger, who applied the term to monumental pieces based on chorale melodies.

Selected examples

North German tradition

• Heinrich Scheidemann – Allein zu dir, Herr Jesu Christ
• Heinrich Scheidemann – Ein feste Burg
• Heinrich Scheidemann – In dich hab ich gehoffet, Herr (I)
• Heinrich Scheidemann – Jesus Christus unser Heiland (I)
• Heinrich Scheidemann – Vater unser (II)
• Franz Tunder – Auf meinen lieben Gott
• Franz Tunder – Christ lag in Todesbanden
• Franz Tunder – Herr Gott, dich loben wir
• Franz Tunder – In dich hab ich gehoffet, Herr
• Franz Tunder – Komm, Heiliger Geist, Herre Gott
• Franz Tunder – Was kann uns kommen an für Not (2 versions)
• Johann Bahr – O lux beata Trinitas (1655)
• Johann Adam Reincken – An Wasserflüssen Babylon
• Johann Adam Reincken – Was kann uns kommen an für Not
• Dieterich Buxtehude – Gelobet seist du, Jesu Christ, BuxWV 188
• Dieterich Buxtehude – Ich dank dir, lieber Herre, BuxWV 194
• Dieterich Buxtehude – Ich dank dir schon durch deinen Sohn, BuxWV 195
• Dieterich Buxtehude – Ich ruf zu dir, Herr Jesu Christ , BuxWV 196
• Dieterich Buxtehude – Magnificat Primi Toni, BuxWV 203
• Dieterich Buxtehude – Magnificat Primi Toni, BuxWV 204
• Dieterich Buxtehude – Nun freut euch, lieben Christen g'mein, BuxWV 210
• Dieterich Buxtehude – Nun lob, mein Seel, den Herren, BuxWV 212, on Johann Gramann's hymn
• Dieterich Buxtehude – Te Deum laudamus, BuxWV 218
• Dieterich Buxtehude – Wie schön leuchtet der Morgenstern, BuxWV 223
• Nicolaus Bruhns – Nun komm, der Heiden Heiland
• Vincent Lübeck – Ich ruf zu dir, Herr Jesu Christ
• Vincent Lübeck – Nun lasst uns Gott, den Herrn

Later examples

• Johann Sebastian Bach
  • vocal

• • Opening movements of his chorale cantatas
  • St Matthew Passion: the ending of Part I, "O Mensch, bewein dein Sünde groß"
  • Du wahrer Gott und Davids Sohn, BWV 23, movement 4

• • for organ

• • on "Komm, Heiliger Geist, Herre Gott", BWV 651 and 651a
  • on "Von Gott will ich nicht lassen", BWV 658a
  • on "Nun komm, der Heiden Heiland", BWV 659a
  • on "Jesu, meine Freude", BWV 713 and 713a
  • on "Christ lag in Todesbanden", BWV 718
  • on "Valet will ich dir geben", BWV 735 and 735a
  • Wo Gott der Herr nicht bei uns hält, BWV 1128

• Max Reger – Ein' feste Burg ist unser Gott (1898)
• Max Reger – Freu' dich sehr, o meine Seele (1898)
• Max Reger – Wie schön leucht't uns der Morgenstern (1899) on the hymn by Philipp Nicolai
• Max Reger – Straf' mich nicht in deinem Zorn (1899)
• Max Reger – Three chorale fantasias, Op. 52 (1900)
  • "Alle Menschen müssen sterben" (1900)
  • "Wachet auf, ruft uns die Stimme"
  • "Hallejula! Gott zu loben, bleibe meine Seelenfreud"

References

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