The Symphonic Band, directed by Timothy Paul, will perform "Cathedrals" by Kathryn Salfelder, "Bayou Breakdown" by Brant Karrick, Chorale Prelude
by Vincent Persichetti, "Soundings" by Cindy McTee, and "In Storm and Sunshine" by John Heed.
The final movement is in chorale prelude
style, where the soprano sings verse seven of Nicolai's hymn, Wie schon leuchtet der Morgenstern, while the bass sings texts from Jeremiah and Revelation.
This seems like common sense, yet it begs the question to assume that pieces reflecting the traditional view of Scheidemann as inventor of the so-called monodic chorale prelude
and the chorale fantasia are "mature" or relatively late, whereas others seemingly closer to the Sweelinck style are, as in one example, "obviously representing a preliminary stage" (p.
As the programme traditionally follows evensong (superbly sung by the choir), the German baroque composer Georg Bohm's plaintive chorale prelude
on the Lord's Prayer was appropriate.
Brahms's early organ works, including the preludes and fugues (WoO 9 and 10), the fugue in A-flat minor (WoO 8), and the chorale prelude
and fugue on O Traurigkeit, O Herzeleid, are the subject of chapter 4.
As a Finale, Kern reworked and orchestrated an organ chorale prelude
that he had composed for my wife's and my wedding in 1994.
Then organist John S Bailey will play Bach's Praeludium in G Major, BWV 568 and Chorale Prelude
Erbarm' dich mein, O Herre Gott, BWV 721.
"By the Waters of 4/29/1928 Babylon" (orchestrated by Mabel Wood Hill) Bach, J.
Unlike numerous other hymn preludes on the communion hymn "Picardy" ("Let all mortal flesh keep silence"), which play upon the modal and chant-like character of the tune, White casts it as a gently rocking neo-baroque chorale prelude
with a lovely counter-melody preparing the way for the hymn.
Perreault lists three chorale prelude
settings of Es woll' uns Gott genadig sein (Nos.
What light relief there is comes in the third Brahms offering, the relatively unassuming Chorale Prelude
and Fugue on O Traurigkeit, O Herzeleid, which by comparison to everything else sounds quite restrained.
The continuous sixteenth-note triplets quickly used up the single folio that Bach originally allowed for the piece, forcing him to continue the piece to the left on a trimmed sheet inserted between pages 29/30 and 31/32 (only the odd pages are numbered) inscribed with the page number 30 in the upper right corner (the blank reverse side of the sheet faces the first page 30 with the chorale prelude
"Wir danken dir, Herr Jesu Christ").