page_title: Chorale prelude
section_title: Baroque period
hierarchical_section_title: Chorale prelude / Baroque period
caption_attribution_description: English: J.S.Bach, Jesu, meine Freude from the Orgelbuchlein.
context_page_description: In music, a chorale prelude or chorale setting is a short liturgical composition for organ using a chorale tune as its basis. It was a predominant style of the German Baroque era and reached its culmination in the works of J.S. Bach, who wrote 46 examples of the form in his Orgelbüchlein, along with multiple other works of the type in other collections.
context_section_description: Among the old masters who wrote chorale preludes is Samuel Scheidt. His Tabulatura Nova, containing several such works, was published in 1624. Sweelinck is also typical of the early Baroque period.
  Chorale preludes also appear in the works of Dieterich Buxtehude and Georg Böhm. Over 40 chorale preludes by Buxtehude have survived to this day.
  Johann Pachelbel's compositions are another example of the form, with many of his chorale preludes elaborating upon Protestant chorale melodies.
  The best-known composer of chorale preludes is Johann Sebastian Bach. His earliest extant compositions, works for organ which he possibly wrote before his fifteenth birthday, include the chorale preludes BWV 700, 724, 1091, 1094, 1097, 1112, 1113 and 1119.
  
  In Bach's early Orgelbüchlein (1708-1717), the chorale melody is usually in the upper part and the accompanying lower parts, while being highly elaborate in their harmonic and contrapuntal detail, the beginnings and endings of phrases generally coincide with those of the chorale.  An example is "Jesu, meine Freude", where the chorale melody in the upper part is supported by a closely woven and harmonically subtle counterpoint in three parts:
  Peter Williams (1972, p. 27) says of the Orgelbüchlein: “Each approach to Bach’s organ chorales – their beauty, their ‘symbolism’, their mastery- is rewarding.”   Williams continues (1972, p29) “One of the most remarkable features of most of the settings is that the accompaniment and the motifs from which it is composed are newly invented and are not related thematically to the melody.”
  By contrast, in the prelude on Wachet auf, ruft uns die Stimme (BWV 645) from the set of six Schübler Chorales, taken from earlier cantata movements, the accompaniment is a free-flowing obbligato which both derives from the chorale melody, yet seems to float independently over it.  "The achieving of a melody independent of the cantus firmus, though in principle it is familiar in obbligato arias, is here unusually complete."  Julian Mincham (2010) sees an asymmetry here that is possibly rooted in the chorale itself “with its slightly puzzling mixture of different phrase lengths”:
  Two melodic ideas from the chorale, labelled (a) and (b) above are embedded in the obbligato line:
  Mincham says that while “theme and chorale are not designed to begin and end together… [they] fit together perfectly. Get to know the chorale and ritornello melodies well and the apparently effortless ways in which they inter-relate will become obvious. The important point is that they seem not to fit; but they do.”
caption: Jesu, meine Freude from the Orgelbuchlein.   Jesu meine Freude (BWV 610)
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