| Contents |
Compositional models and musical style. The chorale motet ; The chorale partita ; The ornamental chorale ; The cantus firmus chorale ; The chorale trio -- The genesis of the collection. The autograph manuscript ; Compositional process -- Significance. Function and purpose ; The structure of the collection -- The music and its performance. "Komm, Heiliger Geist, Herre Gott" (Come, Holy Ghost, Lord God), BWV 651 ; "Komm, Heiliger Geist, Herre Gott" (Come, Holy Ghost, Lord God), BWV 652 ; "An Wasserflussen Babylon" (By the Waters of Babylon), BWV 653 ; "Schmucke dich, o liebe Seele" (Adorn yourself, o dear soul), BWV 654 ; "Herr Jesu Christ, dich zu uns wend" (Lord Jesus Christ, turn to us), BWV 655 ; "O Lamm Gottes, unschuldig" (O lamb of God, inoccently slaughtered), BWV 656 ; "Nun danket alle Gott" (Let everyone now thank God), BWV 657 ; "Von Gott will ich nicht lassen" (From God I do not want to leave), BWV 658 ; "Nun komm, der Heiden Heiland" (Come now, savior of the heathen), BWV 659 ; "Nun komm, der Heiden Heiland" (Come now, savior of the heathen), BWV 660 ; "Nun komm, der Heiden Heiland" (Come now, savior of the Heathen), BWV 661 ; "Allein Gott in der Hoh sei Ehr" (Alone to God on high be the honor), BWV 662 ; "Allein Gott in der Hoh sei Ehr" (Alone to God on high be the honor), BWV 663 ; "Allein Gott in der Hoh sei Ehr" (Alone to God on high be the honor), BWV 664 ; "Jesus Christus, unser Heiland" (Jesus Christ, our savior), BWC 665 ; "Jesus Christus, unser Heiland" (Jesus Christ, our savior), BWV 666 ; "Komm, Gott Schopfer, Heiliger Geist" (Come, God creator, Holy Ghost), BWV 667 ; "Vor deinen Thron tret ich hiermit" (Before your throne I know appear), BWV 668 -- Reception history. The eighteenth century ; The nineteenth century ; The twentieth century. |
| Abstract |
On the 250th anniversary of the composer's death, this volume offers an in-depth look at the "Great Eighteen" organ chorales, among the most celebrated works for organ, and a milestone in the history of the chorale. Addressed to organists, scholars, and general listeners alike, this lucid and engaging book examines the music from a wide spectrum of historical and analytical perspectives. Stinson examines the models used by Bach in conceiving the original pieces, his subsequent compilation of these works into a collection, and his compositional process as preserved by the autograph manuscript. Himself an accomplished organist, Stinson also considers various issues of performance practice and concludes with a discussion of the music's reception--its dissemination in manuscript and printed form, its performance history, and its influence on later composers. Completely up-to-date and presenting a wealth of new material, much of it translated into English for the first time, this study will open up fresh perspectives on some of the composer's greatest creations. |
