Chorale motet
Encyclopedia
The chorale motet was a type of musical composition in mostly Protestant
parts of Europe, principally Germany
, and mainly during the 16th century. It involved setting a chorale
melody and text as a motet
.
Stylistically chorale motets were similar at first to motets composed in Catholic countries, and made use of the full range of techniques of Franco-Flemish polyphony
. In the earlier period, the chorale was typically used as a cantus firmus
, fairly easy to hear, with other lines either weaving in and out contrapuntally
around it, or following along in the same rhythm in an entirely homophonic style. Later in the century, especially around 1600, the successive verses of the chorale were used to begin imitative
sections in a fugal
style. Shortly after 1600 the form began to disappear, overtaken by newer forms based on Italian
(especially Venetian) models: the chorale concerto
, and later the chorale cantata
. The chorale cantata was to become the most substantial of the descendants of the chorale motet, and eventually culminated in the work of J.S. Bach.
Composers of early chorale motets included Johann Walter
, who typically used a cantus firmus type of motet setting; Balthasar Resinarius, who wrote in the complex polyphonic style; Sixt Dietrich, who chose the simpler homophonic style; and Ludwig Senfl
, Lupus Hellinck
, Thomas Stoltzer
, and others. Some of these composers were Roman Catholic: the Thirty Years War had not yet torn Germany apart, and composers from both branches of Christianity were still mixing freely.
Between the late 1560s and the early 1580s, the renowned composer Orlande de Lassus
, who was working in Munich
, contributed several volumes of chorale motets of his own: Newe Teütsche Liedlein mit fünf Stimmen (books 1 and 2) and Newe teutsche Lieder. In these motets the voices are equally balanced, as in the style of Palestrina
.
Around 1600 a new group of composers, many of whom had studied in Italy, brought new ideas to the chorale motet. Some of these composers were among the most famous and talented in Europe, including Melchior Franck
, Hans Leo Hassler
, and the spectacularly prolific Michael Praetorius
. Praetorius's Musae Sioniae (1605-1610), an enormous collection of approximately 1200 pieces, includes some of the finest and most advanced examples of the form; however, by this time the chorale concerto and other types of chorale settings were beginning to eclipse the chorale motet as a primary means of expression for the German chorale.
Protestant Reformation
The Protestant Reformation was a 16th-century split within Western Christianity initiated by Martin Luther, John Calvin and other early Protestants. The efforts of the self-described "reformers", who objected to the doctrines, rituals and ecclesiastical structure of the Roman Catholic Church, led...
parts of Europe, principally Germany
Germany
Germany , officially the Federal Republic of Germany , is a federal parliamentary republic in Europe. The country consists of 16 states while the capital and largest city is Berlin. Germany covers an area of 357,021 km2 and has a largely temperate seasonal climate...
, and mainly during the 16th century. It involved setting a chorale
Chorale
A chorale was originally a hymn sung by a Christian congregation. In certain modern usage, this term may also include classical settings of such hymns and works of a similar character....
melody and text as a motet
Motet
In classical music, motet is a word that is applied to a number of highly varied choral musical compositions.-Etymology:The name comes either from the Latin movere, or a Latinized version of Old French mot, "word" or "verbal utterance." The Medieval Latin for "motet" is motectum, and the Italian...
.
Stylistically chorale motets were similar at first to motets composed in Catholic countries, and made use of the full range of techniques of Franco-Flemish polyphony
Polyphony
In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice or music with one dominant melodic voice accompanied by chords ....
. In the earlier period, the chorale was typically used as a cantus firmus
Cantus firmus
In music, a cantus firmus is a pre-existing melody forming the basis of a polyphonic composition.The plural of this Latin term is , though the corrupt form canti firmi is also attested...
, fairly easy to hear, with other lines either weaving in and out contrapuntally
Counterpoint
In music, counterpoint is the relationship between two or more voices that are independent in contour and rhythm and are harmonically interdependent . It has been most commonly identified in classical music, developing strongly during the Renaissance and in much of the common practice period,...
around it, or following along in the same rhythm in an entirely homophonic style. Later in the century, especially around 1600, the successive verses of the chorale were used to begin imitative
Imitation (music)
In music, imitation is when a melody in a polyphonic texture is repeated shortly after its first appearance in a different voice, usually at a different pitch. The melody may vary through transposition, inversion, or otherwise, but retain its original character...
sections in a fugal
Fugue
In music, a fugue is a compositional technique in two or more voices, built on a subject that is introduced at the beginning in imitation and recurs frequently in the course of the composition....
style. Shortly after 1600 the form began to disappear, overtaken by newer forms based on Italian
Italy
Italy , officially the Italian Republic languages]] under the European Charter for Regional or Minority Languages. In each of these, Italy's official name is as follows:;;;;;;;;), is a unitary parliamentary republic in South-Central Europe. To the north it borders France, Switzerland, Austria and...
(especially Venetian) models: the chorale concerto
Chorale concerto
In music, a chorale concerto is a short sacred composition for one or more voices and instruments, principally from the very early German Baroque era...
, and later the chorale cantata
Chorale cantata
In music, a chorale cantata is a sacred composition for voices and instruments, principally from the German Baroque era, in which the organizing principle is the words and music to a chorale. Usually a chorale cantata is in multiple movements or parts. Most chorale cantatas were written between...
. The chorale cantata was to become the most substantial of the descendants of the chorale motet, and eventually culminated in the work of J.S. Bach.
Composers of early chorale motets included Johann Walter
Johann Walter
Johann Walter was a Lutheran composer and poet during the Reformation period.-Life:Walter was born in Kahla, Thuringia in 1496...
, who typically used a cantus firmus type of motet setting; Balthasar Resinarius, who wrote in the complex polyphonic style; Sixt Dietrich, who chose the simpler homophonic style; and Ludwig Senfl
Ludwig Senfl
Ludwig Senfl was a Swiss composer of the Renaissance, active in Germany. He was the most famous pupil of Heinrich Isaac, was music director to the court of Maximilian I, Holy Roman Emperor, and was an influential figure in the development of the Franco-Flemish polyphonic style in...
, Lupus Hellinck
Lupus Hellinck
Lupus Hellinck was a Flemish composer of the Renaissance. He was a prominent composer of masses, as well as German chorales and motets...
, Thomas Stoltzer
Thomas Stoltzer
Thomas Stoltzer, also Stolczer, Scholczer was a German composer of the Renaissance.-Life:...
, and others. Some of these composers were Roman Catholic: the Thirty Years War had not yet torn Germany apart, and composers from both branches of Christianity were still mixing freely.
Between the late 1560s and the early 1580s, the renowned composer Orlande de Lassus
Orlande de Lassus
Orlande de Lassus was a Franco-Flemish composer of the late Renaissance...
, who was working in Munich
Munich
Munich The city's motto is "" . Before 2006, it was "Weltstadt mit Herz" . Its native name, , is derived from the Old High German Munichen, meaning "by the monks' place". The city's name derives from the monks of the Benedictine order who founded the city; hence the monk depicted on the city's coat...
, contributed several volumes of chorale motets of his own: Newe Teütsche Liedlein mit fünf Stimmen (books 1 and 2) and Newe teutsche Lieder. In these motets the voices are equally balanced, as in the style of Palestrina
Giovanni Pierluigi da Palestrina
Giovanni Pierluigi da Palestrina was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition...
.
Around 1600 a new group of composers, many of whom had studied in Italy, brought new ideas to the chorale motet. Some of these composers were among the most famous and talented in Europe, including Melchior Franck
Melchior Franck
Melchior Franck was a German composer of the late Renaissance and early Baroque eras. He was a hugely prolific composer of Protestant church music, especially motets, and assisted in bringing the stylistic innovations of the Venetian School north across the Alps into Germany.-Life:Details of his...
, Hans Leo Hassler
Hans Leo Hassler
Hans Leo Hassler was a German composer and organist of the late Renaissance and early Baroque eras, elder brother of the less-famous Jakob Hassler...
, and the spectacularly prolific Michael Praetorius
Michael Praetorius
Michael Praetorius was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns, many of which reflect an effort to make better the relationship between...
. Praetorius's Musae Sioniae (1605-1610), an enormous collection of approximately 1200 pieces, includes some of the finest and most advanced examples of the form; however, by this time the chorale concerto and other types of chorale settings were beginning to eclipse the chorale motet as a primary means of expression for the German chorale.