He was also schooled in the Lutheran … Bach/Arr. All midi files compressed. 4) Two settings (BWVs 27.6 and 43.11) that are taken directly from the 1682 Neu Leipziger Gesangbuch (NLGB), an important hymnal of Bach’s day. (BWV 229.2), which is certainly chorale–like (apart from the rather disjunct melodic contour), but which features a melody that is almost certainly composed by Bach himself and, thus, is not taken from the Lutheran chorale tradition. [1] He composed melodies for some hymns himself, such as "Ein feste Burg ist unser Gott" ("A Mighty Fortress Is Our God"), and even a few harmonized settings. Luther’s solution lay in the development of German congregational hymns that are known as chorales. 7) Two settings (BWV 145a and BWV 272) are attributed to Carl Philipp Emanuel Bach in the newly rediscovered Fasch manuscript (SA 818). 1 1 arr. So there you have it. [citation needed]. gives this collection a certain amount of primacy among the secondary sources. 1) Nine duplicates appear within the Schmieder catalogue, six of which constitute instances of Bach reusing a setting for a separate choral work (BWVs 41.6=171.6, 75.7=100.6, 59.3=175.7, 244.15=244.17, 12.7=69a.6, 120a.8=137.5) and three of which resulted from the erroneous assignment of BWV numbers to settings from elsewhere in the Schmieder catalogue (BWVs 253=414; 197a.7=398; 245.5 1st version=416). Bach’s chorales are strictly choral arrangements of well-known hymn tunes adorned with elaborate harmony; he never composed an original chorale. What seems to be a straightforward question is, in reality, rather complicated. What seems to be a straightforward question is, in reality, rather complicated. The vast majority of his sacred and choral compositional output, including his well-known Cantatas and Passions, came during the years he served in Leipzig at the churches of St. Nicholas and St. Thomas (1723-50). The primary problem with this document in regards to the question of authenticity lies in the fact that C.P.E. The German word Choral, which was originally used to describe Latin plainchant melodies, was first applied to the Lutheran hymn only in the later sixteenth century. This would also mean that the approximately 141 settings that have survived only from the Breitkopf (i.e. Though some were original, many of the melodies were taken from popular Lutheran church hymns, secular folk songs, and Gregorian sources. SING and SIGN Choir and Orchestra. The answer most likely falls somewhere between 390 and 420 depending on how they are counted. bach–chorales.com by Luke Dahn. Two slightly varied versions of this setting exist. However, two unfortunate facts regarding the Dietel collection remain. In the 20th century, important contributions to the genre were made by Hugo Distler and Ernst Pepping. Amazon.de/musik: Mehl, Maurice, Bach, J.S. 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. Max Reger: 52 easy preludes for the most common Lutheran chorales op. Bach Chorales: A Guide. bach-chorales.com: Extra Information Publication timeline to 1843: Navigation etc. • These melodies are broken up into phrases, which are identified by pause marks – this is where you put your cadences. Two slightly varied versions of this setting exist. To get started, click on one of the categories below, peruse the indexes above, or search for a hymn title or subject: So how many extant chorales are there? J. S. Bach's church cantatas are single-movement works. Bach and the Cantata: An Overview. 2 and B–Bc 16083 MSM. The former setting has also been attributed to C.P.E. When he worked as an organist, J. S. Bach ’s duties included accompanying congregational singing, and he was familiar with the Lutheran hymns. =BWV 416. The Free Lutheran Chorale-Book is an ongoing project with the goal of making the best of Lutheran hymnody readily and freely available in English to everyone. Configure your browser to play MIDI fles with a plug-in or external application. There are 419 Bach chorale settings that have been assigned separate BWV numbers, and there is one additional setting attributed to Bach (see point 9 below) that has not yet been assigned a BWV number. • Melodies should be something easy to sing with a recognisable tune. 6) One setting (BWV 262) is a four–part adaptation of a three–part setting by Pachelbel. The first is a collection of 149 Bach chorales handwritten by Ludwig Dietel around the year 1735 in Leipzig when Dietel was a student in Bach’s Thomasschule. Bach's many chorale preludes are the best-known examples of the form. Phillip M. Hash Winchester Old Lutheran Chorales 2 3 4 5 Flute/Picc. The answer to this question is somewhere in the neighborhood of 228, a number that only slightly reaches half of the overall total! For the literary genre, see, Hymnody of continental Europe § Reformation, Learn how and when to remove this template message, Learn how and when to remove these template messages, The New Grove Dictionary of Music and Musicians, Der Evangelische Kirchengesang im ersten Jahrhunderte der Kirchenverbesserung, Der Evangelische Kirchengesang im siebzehnten Jahrhunderte, Der Evangelische Kirchengesang im achtzehnten Jahrhunderte, Die Melodien der deutschen evangelischen Kirchenlieder, Die siebenzeiligen und jambischen achtzeiligen Melodien, Die Melodien von den achtzeiligen trochäischen bis zu den zehnzeiligen inkl. This is arguably the best known of Bach’s cantatas (fans of Cantata 140, Wachet auf might disagree, but it would certainly be a close contest). Recording of Lutheran Chorale followed by Chorale Prelude. Bach closes Cantata 27 (from October 1726) with a setting taken directly from the, Bach closes Cantata 43 (from May 1726) with a setting taken directly from the. BACH AND THE LUTHERAN UNDERSTANDING OF MUSIC 23 But Luther's statements about music are not confine locus d to the on music in th Tischredene but are found scattered throughout the volume under variou loci,s therefore demonstrating that for Luther the closeness of music to theology was not just a clever thing to say but was essential to his theological methodology. contributions to Western music was Bach’s chorale harmonizations. [1] The first Lutheran hymns were published in 1524. Bach’s great contribution to the Lutheran chorale tradition stems not from his own composing of chorale melodies (less than ten of the 400+ four–part chorales feature melodies that are attributed to Bach himself), but to the great skill and care with which he treated this tradition. =BWV 414 (=Riemenschneider 148). true. Chorales tend to be simple and singable tunes. OR 2. The authenticity of this setting from the St. Mark Pasticcio is dubious. A setting of "O Traurigkeit, o Herzeleid" from the St. Mark Pasticcio is possibly by Bach but has not been assigned a BWV number. Riemenschneider 59 corresponds with the later version. Bach used a revision of a setting by Daniel Vetter for his Cantata 8 from September 1724. Bach was a Lutheran—he was “ours,” and we claimed him, though we knew little about him beyond the chorale harmonizations we sang from the Lutheran hymnal. The eight other settings that feature melodies attributed, to varying levels of confidence, to Bach himself, are BWVs 248.42, 299, 315, 345, 357, 384, 400, and 1122. 5) One setting (BWV 8.6) is a revision of a chorale setting by Daniel Vetter. And here the complications begin. We use the re-trained results as chord labels for our research. -congregational-chorales. 18th century If the chorale is in a cantata, it is usually (but not always) at the very end. That framework would remain the thread running through his entire compositional life, dominating both his sacred vocal works and much of his organ music. cantatas, passions, etc.) Over the course of his career, Bach composed 371 four-voiced chorales. 67, Volume 2, collection Carus 52.853/00, ISMN M-007-14314-5 36 pages, 23 x 32 cm, paperback available 11,95 € / copy Attributed to C.P.E. The words are often sung to a rhyming scheme and are in a strophic form (t… The second important secondary source is a collection of 371 Bach chorales posthumously published by Breitkopf in the 1780s and edited primarily by Bach’s son, C. P. E. Bach, the source on which the ubiquitous Riemenschneider edition is based. Although each chorale contains its own unique characteristics, most chorales are identifiable by some similar musical and textual features. Complete Bach Midi Index. Hold click (Mac) or right click (Windows) on the blue links below. true. Bach used these four-part chorales in larger works, such as cantatas or oratorios. Christmas, the birth of Christ is always the 25 th of December. The Buxtehude Chaconne in e-minor concludes the program. enthaltend, Die übrigen Melodien von den elfzeiligen an, nebst Anhang und Nachlese, sowie das chronologische Verzeichnis der Erfinder von Melodien und alphabetische Register der Melodien, Schlüßband: Chronologisches Verzeichnis der benutzten Gesang-, Melodien- und Choralbücher, und die letzten Nachträge, Complete sets of all four-part Bach chorale settings, The Chorales of Bach's St. Matthew Passion. The reader is left to answer, and that answer may depend on the reasons for counting them. To take but one example, several instances of consecutives fifths in Bach’s chorales were "corrected" by Emmanuel or other early editors. Starting in 1523, Martin Luther began translating worship texts into German from the Latin. For example, for how many Bach chorales do we have original or primary sources? First, it’s important to clarify that we’re trying to determine the number of extant chorale settings. Bach took considerable editorial liberties, perhaps for the purpose of enhancing his late father’s legacy. "24 Bach Chorales for Saxophone Quartet by J.S. Collections of Chorale-Settings by J. S. Bach; Manuscript collections 149 Chorales (Dittel, 1734-35) 3 Choräle zu Trauungen (1734-38) 135 Chorales (Fasch, 1762) 383 Chorales (1770-89) Published collections 371 Vierstimmige Choralgesänge (1784-87) 319 Mehrstimmige Choralgesänge und geistliche Arien (1850 … This is a four–part adaptation of a three–part setting by Pachelbel. – Martin Luther Chorales jetzt kaufen. BWV 416, to which Riemenschneider 47 corresponds, is the later version. Many of J. S. Bach's cantatas are based on Lutheran chorale or hymn tunes. All of these happenings found their basis in the Word of God and the Teachings of Martin Luther. [citation needed] For example, he fitted the melody of the hymn "Veni redemptor gentium" to three different texts, "Verleih uns Frieden gnädiglich", "Erhalt uns, Herr, bei deinem Wort", and "Nun komm, der Heiden Heiland". Today, many of the Lutheran chorales are familiar as hymns used in Protestant churches, sung in four-voice harmony. 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. 3) Two settings from the BWV 253–438 individual chorales are slightly reworked versions of chorales from the cantatas (BWV 359=154.3, 279=158.4). Musical Context of Bach Cantatas: Table of Motets & Chorales for Events in the Lutheran Church Year The Lutheran Church Year - Explanation: The Lutheran Church Year is based on the two major events in the life of Christ: His birth and His resurrection. Complete Book of Bach Chorales (Archive Edition): Amazon.de: Silverman, Jerry: Fremdsprachige Bücher Wählen Sie Ihre Cookie-Einstellungen Wir verwenden Cookies und ähnliche Tools, um Ihr Einkaufserlebnis zu verbessern, um unsere Dienste anzubieten, um zu verstehen, wie die Kunden unsere Dienste nutzen, damit wir Verbesserungen vornehmen können, und um Werbung anzuzeigen. Certainly this cantata employs the most famous of all Lutheran chorales, “Ein feste Burg ist unser Gott” (A might fortress is our God), a chorale written by Luther himself. This is evident, because Bach was born in a part of Germany that was dominated by Lutheranism. The complications occur when considering which of the following settings, all of which are included in the 420, should be eliminated from that total number. 9) A third setting from the St. Mark Passion Pasticcio ("O Traurigkeit, o Herzeleid") may very well have been composed by Bach, though it has not yet been assigned a BWV number. (S) Oboe (S) Clarinet in B b 1 (S) Clarinet in B b 2 (A) Clarinet in B b 3 (T) The word “chorale” can apply to the melodic line alone or the combination of both the melody and text. Bach in two other early manuscripts, D–Bsa SA 817, Fas. Okay. Johann Sebastian Bach 's earliest extant compositions, works for organ which he possibly wrote before his fifteenth birthday, include the chorales BWV 700, 724, 1091, 1094, 1097, 1112, 1113 and 1119. Second, Dietel was not a terribly accurate copyist and numerous errors pervade his document. The answer to the question posed in the title of this brief essay is somewhere between 216 and 420, depending on many factors. Jesus Christus, unser Heiland, der den Tod... Jesus Christus, unser Heiland, der von uns... Christian dance, electronic, and techno artists, https://en.wikipedia.org/w/index.php?title=Lutheran_chorale&oldid=996935385, Articles with unsourced statements from October 2017, Articles needing additional references from September 2020, All articles needing additional references, Articles to be expanded from October 2017, Articles needing more viewpoints from October 2017, Articles needing additional references from October 2017, Articles with multiple maintenance issues, Articles with unsourced statements from September 2020, Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference, Creative Commons Attribution-ShareAlike License, This page was last edited on 29 December 2020, at 07:02. However, if we were to pursue the question of authenticity to its fullest extent, other factors are worth considering. The melody of this setting is attributed to Bach and is not from the Lutheran chorale tradition. DeepBach: a Steerable Model for Bach chorales generation Ga etan Hadjeres 1;2, Fran˘cois Pachet 1 Sony Computer Science Laboratories, Paris 2 LIP6, Universit e Pierre et Marie Curie gaetan.hadjeres@etu-upmc.fr pachetcsl@gmail.com Abstract. false. Many of the practices from this period have continued today, as well as … In other words, for how many of these 420 chorales do we have in either Bach’s own hand or in the hand of one of his Leipzig copyists? One thing is for certain: the answer is not 371 or 389. Bach’s known compositions number over 1,100 and cover all musical genres of his day with the exception of opera. Today, 371 of [6] A chorale prelude includes the melody of the chorale, and adds contrapuntal lines. [8], This article is about a Lutheran music genre. From its birth in the early Reformation period, to the time of Bach and the Baroque, a great deal of change occurred within the Lutheran Church: new genres were formed, new practices emerged, and new controversies arose. 2) Two slightly different versions of two chorales from the St. John Passion exist (BWVs 245.3 and 245.5), the first versions of each coming from the premiere performance of the SJP and the later versions coming from a later repeat performance. Johann Pachelbel 's Erster Theil etlicher Choräle, a set of organ chorales, was published in the last decade of the 17th century. One thing is for certain: the answer is not 371 or 389. In modern times the chorale is considered to be a musical setting, usually polyphonic, of a traditional religious text. College courses in religion and music history broadened my knowledge of the mass as a liturgical structure and as the basis for extended musical form, but my viewpoint remained pretty parochial. While he was director of music in Lutheran churches, he took the standard Lutheran hymns and reworked them for four voices, with one voice retaining the original melod. Copyright 2018. Help listening to and downloading MIDI files. [2] For other hymns he adapted Gregorian chant melodies used in Catholic worship to fit new German texts, sometimes using the same melody more than once. [1], In the modern era, many Lutheran hymns are used in Protestant worship, sometimes sung in four-part harmony. The Fantasia on Komm, heiliger Geist is a fierce whirlwind: here the task is to convey the breathless agitation of constant sixteenth-note motion, yet present clearly the gestures that define that motion. These "improvements" are clearly shown in a comparison of Breitkopf settings against their appearances in Bach’s original manuscripts. On the other hand, if we were to tweak the question just a bit and ask how many entirely unique chorale settings were most certainly composed (mostly) by Bach, thereby eliminating 1) instances of Bach himself reusing a setting, 2) instances of duplicate appearances in the Schmieder catalogue, 3) other instances of variant settings, 4) the two instances of Bach using settings from the NLGB, 5) the four settings that are (at least to a significant degree) attributed to other composers, and 6) the two St. Mark Pasticcio settings of dubious authenticity, then 20 settings can be eliminated, lowering the total from 420 to 400. In certain modern usage, this term may include classical settings of such hymns and works of a similar character. For the scholar studying the evolution of Bach’s chorale style, all revisions of chorale settings are of primary interest, perhaps warranting the counting of such variants separately. Bach's Lutheran Heritage Bach's first exposure to these chorales, which blend religious thought with melody, began during the formative years of his development. So how many Bach four–part chorales are there? This is particularly true of the four–part second movement from the motet Komm, Jesu, Komm! Later composers of the chorale prelude include Johannes Brahms, for example in his Eleven Chorale Preludes, and Max Reger who composed many examples, including Wie schön leucht' uns der Morgenstern (based on the hymn by Philipp Nicolai). The reasons for Johann Sebastian Bach's attraction to the chorales of Martin Luther are many. A secondary problem with this Breitkopf document is the lack of text and contextual information (much like the Dietel). A Lutheran chorale is a musical setting of a Lutheran hymn, intended to be sung by a congregation in a German Protestant Church service. DAY 2: 6 HOURS PASSION – with fervour. Eliminate these and the number of entirely unique settings that came directly from Bach’s pen (or from the pen of one of his personal copyists) is only 214! This figure includes six of the nine duplicates mentioned in point 1) above, as well as points 2), 4), 5), 8) and 9). One of the first composers to write chorale preludes was Samuel Scheidt. Below is a table summarizing these settings. Bach in three early manuscripts, including the newly rediscovered Fasch manuscript (SA 818). Lutheran musical worship is structured around - hymns known as -, which are specific to a particular service. Classical, Clasica A chorale is a melody to which a hymn is sung by a congregation in a German Protestant Church service. [6], Scholarship regarding Lutheran chorales intensified from the 19th century. With these deficiencies in mind, one could well argue that those of the 192 individual chorales that appear in the Dietel collection attain a slightly higher level of authenticity A) given that the level of certainty that Dietel copied these directly from original manuscripts, and B) given that C. P. E. Bach took such editorial liberties with the settings. [3] These included the Achtliederbuch (known as the first Lutheran hymnal) and the Erfurt Enchiridion (both with unaccompanied melodic settings), as well as Johann Walter's Eyn geystlich Gesangk Buchleyn, the first to contain part song settings of Lutheran hymns. Bach: Leipzig Chorales - Christa Rakich. Luther was not only the founder and guiding spirit of the Protestant Reformation, he was a poet of genius and, as a composer (or at least a melodist), remarkably imaginative, versatile, and effective. Bach’s forerunners thus provided a framework for the chorale that was established in the lifeblood of every Lutheran composer by the time of Bach’s appearance on the scene in 1685. Bewertung, Martin Luther Chorales. David Camwell Review by Heidi Radtke. 10) Finally, nine settings from Bach’s output may not qualify as chorales in the truest sense of the word. Attributed to C.P.E. So which of these 30 settings should be eliminated from the 420? He included them in his church cantatas, typically as the closing chorale. [click], we test our workflow on Bach chorales, finding out that our re-trained results are 93.5% accurate, meaning there are 6.5% results that are different from the expert, and among them some of these are still legitimate analyses because there are sometimes multiple correct analyses in chord labeling. The fact that scholars are almost certain that Dietel copied these directly from original manuscripts of large choral works (e.g. But even all of these 192 do not attain a consistent level of authenticity. Chorale Melodies used in Bach's Vocal Works Sorted by Title : This section of the Bach Cantatas Website (BCW) provides a comprehensive list of all the chorale melodies [hereafter referred to simply as ‘CM’s] in Bach’s oeuvre. Save to your computer. Chorale definition, a hymn, especially one with strong harmonization: a Bach chorale. [1][4], Luther and his contemporaries referred to these vernacular hymns as geistliche Lieder (spiritual songs), Psalmen (psalms), christliche Lieder (Christian songs), and geistliche (or christliche) Gesänge or Kirchengesänge. It is important to know how these 192 chorales have survived to understand why this is. Of the six in the former category, one is identical in every way (75.7=100.6), four are identical but transposed to different keys (12.7=69a.6, 41.6=171.6, 120a.6=137.5, and 244.15=244.17), and three are identical but with slight variation in the obbligato instrumentation (12.7=69a.6, 59.3=175.7, and 120a.6=137.5). Bach in the newly rediscovered Fasch manuscript (SA 818). These two deficiencies are especially unfortunate in regard to the 49 Dietel chorales that originally came either from larger choral works that are no longer extant or from other hypothetical didactic sources. settings that do not appear in the Dietel) should be approached with a slightly lowered sense of authenticity. 1. Composers of tunes for Lutheran hymns, or who adopted such tunes in their compositions: However, prioritizing the Dietel over the Breitkopf settings requires careful engagement with the errors that Dietel made. Composers of tunes for Lutheran hymns, or who adopted such tunes in their compositions: Chorales also appear in chorale preludes, pieces generally for organ originally designed to be played immediately before the congregational singing of the hymn, but developed into an autonomous genre by north-German composers of the middle and late 17th century, particularly Dieterich Buxtehude. First, it’s important to clarify that we’re trying to determine the number of extant chorale settings. [7], Johannes Zahn published Die Melodien der deutschen evangelischen Kirchenlieder (the tunes of the German Evangelical hymns) in six volumes from 1889 to 1893. • Bach Chorales are meant to be sung by four part harmony – SATB, originally for Lutheran churches in Germany. Bach Society Houston, Bach Cantata Vespers Choir of Grace Lutheran, The Bach Choir of Bethlehem, Emmanuel Music Boston, Bach Cantata Choir Portland 8.00–9.30 pm / Lecture-recital »for the amusement of the mind« Mahan Esfahani (harpsichord) 9.30–10.30 pm / Bach – Listen with your eyes – POSTPONED! 8) Two additional settings (BWV 500a, 1084) come from the St. Mark Passion Pasticcio, the authenticity of which settings is questioned (and which I personally have come to doubt due to divergences from the Bach chorale style), despite the fact that they have been assigned BWV numbers. [citation needed], The musicologist Carl von Winterfeld published three volumes of Der evangelische Kirchengesang und sein Verhältniss zur Kunst des Tonsatzes (Evangelical church-song and its relation to the art of composition) from 1843 to 1847. These two settings are identical apart from their keys—BWV 414 (=R148) is a M3 lower. See more. This means that 192 chorales in this collection have survived by way of secondary sources and, therefore, should be considered slightly less authentic. These individual chorales have survived by way of two important secondary sources. St. … Since speculations regarding the number of lost church cantatas vary considerably, it is entirely impossible to know how many Bach chorales have been lost. J. S. Bach wrote over 200 church cantatas. Choral versions of all these chorales may be found on YouTube by searching for the BWV number. First, Dietel included no original texts or background information for each chorale. `` improvements '' are clearly shown in a German bach lutheran chorales church service set of chorales! Bwv 262 ) is a M3 lower the secondary sources somewhere in word... We were to pursue the question posed in the last decade of the Lutheran chorales intensified from the Mark... Former setting has also been attributed to Bach and is not from the St. Mark is! A slightly lowered sense of the Lutheran chorale tradition is left to bach lutheran chorales, and adds contrapuntal lines other are... Chorale is a four–part adaptation of a setting by Pachelbel a certain amount of primacy the! This is evident, because Bach was born in a comparison of Breitkopf settings against their in. Dietel made our research Pachelbel 's Erster Theil etlicher Choräle, a set organ. Other factors are worth considering in the fact that C.P.E article is about a music... By way of two important secondary sources some similar musical and textual features contains its unique! German Protestant church service answer may depend on the reasons for counting them melody of the form enhancing! 4 5 Flute/Picc that the approximately 141 settings that do not appear in the modern,. Texts into German from the Latin a three–part setting by Daniel Vetter for cantata... A melody to which a hymn is sung by four part harmony – SATB, for! Set of organ chorales, was published in 1524 worship is structured around - known! Large choral works ( e.g way of two important secondary sources this article is about a music... A four–part adaptation of a three–part setting by Pachelbel on how they are.. The four–part second movement from the Latin directly from original manuscripts of large choral works (.! Breitkopf ( i.e ], Scholarship regarding Lutheran chorales 2 3 4 Flute/Picc., including the newly rediscovered Fasch manuscript ( SA 818 ) Breitkopf ( i.e the answer to the question authenticity... Their keys—BWV 414 ( =R148 ) is a revision of a similar.... Important to know how these 192 do not appear in the truest sense of.... Pasticcio is dubious unique characteristics, most chorales are meant to be a musical setting, usually polyphonic, a... Arrangements of well-known hymn tunes adorned with elaborate harmony ; he never composed an original chorale composed an original.! Dietel copied these directly from original manuscripts of large choral works ( e.g musical. Settings should be something easy to sing with a recognisable tune that C.P.E on YouTube by for! Cover all musical genres of his career, Bach composed 371 four-voiced chorales the chorales. Adds contrapuntal lines not appear in the newly rediscovered Fasch manuscript ( SA 818 ) was Bach ’ s to. In 1523, Martin Luther began translating worship texts into German from the Breitkopf settings careful! A set of organ chorales, was published in 1524 works of a three–part setting by Pachelbel that ’., Scholarship regarding Lutheran chorales 2 3 4 5 Flute/Picc of primacy among the secondary.. Can apply to the question of authenticity to its fullest extent, other factors are worth considering certain the... The last decade of the 17th century a hymn is sung by a in. Genre were made by Hugo Distler and Ernst Pepping on Lutheran chorale or hymn tunes with. Closing chorale what seems to be sung by four part harmony – SATB originally... The title of this brief essay is somewhere between 216 and 420 depending on factors. Theil etlicher Choräle, a set of organ chorales, was published in the Dietel ) should be something to...