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My Favourite Sanctus - Jacques Berthier | Mater Amabilis Choir #fypシ #fyp #liturgy #hymns
My Favourite Sanctus - Jacques Berthier | Mater Amabilis Choir #fypシ #fyp #liturgy #hymns
„Sometimes all you need is a smile… and a choir.“ ✨ #halftonewaves #htwchorsaar #chorgesang #singenmachtglücklich #chorprobe
„Sometimes all you need is a smile… and a choir.“ ✨ #halftonewaves #htwchorsaar #chorgesang #singenmachtglücklich #chorprobe
I love my love arr. de Gustav Holst #gustavholst @dailychoirs #choral #choralmusic
I love my love arr. de Gustav Holst #gustavholst @dailychoirs #choral #choralmusic
Schubert’s music for vocal ensemble is unjustly underrepresented on today’s concert stages. We absolutely fell in love with this music on our September program. Here’s one of the many heart-warming moments from Gebet (D. 815). Link to full video in bio! #franzschubert #earlymusic #vocalensemble #HarmoniaStellarum #schubert
Schubert’s music for vocal ensemble is unjustly underrepresented on today’s concert stages. We absolutely fell in love with this music on our September program. Here’s one of the many heart-warming moments from Gebet (D. 815). Link to full video in bio! #franzschubert #earlymusic #vocalensemble #HarmoniaStellarum #schubert
Happy #feelgoodfriday! The whole team at #bbmusic trust that you have enjoyed a week full of music and laughter. If you are looking for an ensemble arrangement for the weekend, may we suggest… https://www.sheetmusicdirect.com/de-DE/se/ID_No/1032855/Product.aspx an original call to prayer for choir based on text from our scandinavian friends. Its joy is in its simplicity, let us know if you choir fancies giving it a try! Are you looking for a special arrangement of a song??? We can craft an original arrangement for you, just call 07792 550 437 or email: jon@bigbangsheetmusic.co.uk and we will be in touch. #bbmusic #arrangeme #sheetmusicdirect #sheetmusicplus #halleonard #composer #arranger #arrangement #ensemble #sheetmusic #joneno #jonathaneno #hhmusic #choir #choral #be #god #blessing
Happy #feelgoodfriday! The whole team at #bbmusic trust that you have enjoyed a week full of music and laughter. If you are looking for an ensemble arrangement for the weekend, may we suggest… https://www.sheetmusicdirect.com/de-DE/se/ID_No/1032855/Product.aspx an original call to prayer for choir based on text from our scandinavian friends. Its joy is in its simplicity, let us know if you choir fancies giving it a try! Are you looking for a special arrangement of a song??? We can craft an original arrangement for you, just call 07792 550 437 or email: [email protected] and we will be in touch. #bbmusic #arrangeme #sheetmusicdirect #sheetmusicplus #halleonard #composer #arranger #arrangement #ensemble #sheetmusic #joneno #jonathaneno #hhmusic #choir #choral #be #god #blessing
Were You There? #virtualchoir
Were You There? #virtualchoir
Today’s ALL NEW 30 Second Concert - Sunday Chorale Edition The melody of “Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt” (Jesus Christ, our Savior, who turned God’s wrath away from us) predates Johann Sebastian Bach by several centuries and originates in late medieval chant associated with the Latin hymn “Jesus Christus, nostra salus.” Adopted and reshaped by Martin Luther in 1524, the tune retained its modal character and flexible rhythm, features that led to multiple notational variants over time. By Bach’s era, the melody was firmly established within the Lutheran chorale tradition, carrying strong Eucharistic and doctrinal associations that made it especially suitable for theological musical treatment. Bach used this historically layered melody in a straightforward four-part chorale setting (BWV 363), designed to support congregational worship and clarify the hymn’s text. His harmonization is restrained and balanced, allowing the ancient melody to remain prominent while reinforcing the solemn character of the communion hymn. This setting reflects Bach’s role as a church musician committed to preserving the chorale’s liturgical function and theological meaning. Beyond congregational use, Bach explored the melody’s expressive potential in organ music, notably in BWV 665 and 666 from the Great Eighteen Chorale Preludes and BWV 688 and 689 from Clavier-Übung III. In these works, the chorale tune is transformed through ornamentation, counterpoint, and structural contrast, serving as a foundation for musical meditation on Christ’s sacrificial death and the mystery of the Eucharist. Bach’s repeated return to this melody underscores its importance as both a historical artifact and a living source of theological expression. Arr S Schultz
Today’s ALL NEW 30 Second Concert - Sunday Chorale Edition The melody of “Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt” (Jesus Christ, our Savior, who turned God’s wrath away from us) predates Johann Sebastian Bach by several centuries and originates in late medieval chant associated with the Latin hymn “Jesus Christus, nostra salus.” Adopted and reshaped by Martin Luther in 1524, the tune retained its modal character and flexible rhythm, features that led to multiple notational variants over time. By Bach’s era, the melody was firmly established within the Lutheran chorale tradition, carrying strong Eucharistic and doctrinal associations that made it especially suitable for theological musical treatment. Bach used this historically layered melody in a straightforward four-part chorale setting (BWV 363), designed to support congregational worship and clarify the hymn’s text. His harmonization is restrained and balanced, allowing the ancient melody to remain prominent while reinforcing the solemn character of the communion hymn. This setting reflects Bach’s role as a church musician committed to preserving the chorale’s liturgical function and theological meaning. Beyond congregational use, Bach explored the melody’s expressive potential in organ music, notably in BWV 665 and 666 from the Great Eighteen Chorale Preludes and BWV 688 and 689 from Clavier-Übung III. In these works, the chorale tune is transformed through ornamentation, counterpoint, and structural contrast, serving as a foundation for musical meditation on Christ’s sacrificial death and the mystery of the Eucharist. Bach’s repeated return to this melody underscores its importance as both a historical artifact and a living source of theological expression. Arr S Schultz
The hymn “Ach lieben Christen, seid getrost” (Ah dear Christians be comforted) is linked to a melody tradition that predates its 1561 text by Johannes Gigas. While a specific tune (Zahn 4521b) was composed for the hymn, it soon became associated with other well-known chorale melodies, most notably “Wo Gott der Herr nicht bei uns hält” (Zahn 4441a). By the late 16th and early 17th centuries, this melody was firmly embedded in Lutheran practice, carrying connotations of penitence, consolation, and trust in God amid suffering—associations that shaped its later musical treatment. Johann Sebastian Bach made significant use of the hymn through this established melody rather than the text-specific tune. In 1724 he composed the chorale cantata Ach, lieben Christen, seid getrost, BWV 114, for the 17th Sunday after Trinity, using the Zahn 4441a melody. Bach structured the cantata around selected stanzas of Gigas’s text: the opening movement presents the first stanza as an expansive chorale fantasia, while later movements paraphrase or directly quote the hymn to reinforce its themes of penitence, death, and Christian comfort. Bach also employed the melody in a plain four-part chorale harmonization (BWV 256), preserving its congregational character and doctrinal clarity. In both the cantata and the chorale setting, Bach treats the melody as a stable theological anchor, allowing the music to reflect the hymn’s message of humble repentance and confidence in Christ. His usage demonstrates how an established chorale tune could unify liturgical function, textual meaning, and musical expression within the Lutheran tradition. Arr S Schultz
The hymn “Ach lieben Christen, seid getrost” (Ah dear Christians be comforted) is linked to a melody tradition that predates its 1561 text by Johannes Gigas. While a specific tune (Zahn 4521b) was composed for the hymn, it soon became associated with other well-known chorale melodies, most notably “Wo Gott der Herr nicht bei uns hält” (Zahn 4441a). By the late 16th and early 17th centuries, this melody was firmly embedded in Lutheran practice, carrying connotations of penitence, consolation, and trust in God amid suffering—associations that shaped its later musical treatment. Johann Sebastian Bach made significant use of the hymn through this established melody rather than the text-specific tune. In 1724 he composed the chorale cantata Ach, lieben Christen, seid getrost, BWV 114, for the 17th Sunday after Trinity, using the Zahn 4441a melody. Bach structured the cantata around selected stanzas of Gigas’s text: the opening movement presents the first stanza as an expansive chorale fantasia, while later movements paraphrase or directly quote the hymn to reinforce its themes of penitence, death, and Christian comfort. Bach also employed the melody in a plain four-part chorale harmonization (BWV 256), preserving its congregational character and doctrinal clarity. In both the cantata and the chorale setting, Bach treats the melody as a stable theological anchor, allowing the music to reflect the hymn’s message of humble repentance and confidence in Christ. His usage demonstrates how an established chorale tune could unify liturgical function, textual meaning, and musical expression within the Lutheran tradition. Arr S Schultz
Chorale#226 Herr Jesu Christ, du hast bereit / 主イエス・キリストよ、あなたは準備されました G minor / B♭ major / Theme: Holy Communion Composer: Anon (?) Harmony: J.S. Bach RIEMENSCHNEIDER book　Chorale#226 #jsbach なかなか悩ましい雰囲気。歌詞を見ると、最期の晩餐と昇天後の弟子やキリスト者の集まりを準備した感じ。　聖書ではイエスは教会を作れとはひと言も言っていない（ペトロを鍵として任命したことはあります）。
Chorale#226 Herr Jesu Christ, du hast bereit / 主イエス・キリストよ、あなたは準備されました G minor / B♭ major / Theme: Holy Communion Composer: Anon (?) Harmony: J.S. Bach RIEMENSCHNEIDER book　Chorale#226 #jsbach なかなか悩ましい雰囲気。歌詞を見ると、最期の晩餐と昇天後の弟子やキリスト者の集まりを準備した感じ。　聖書ではイエスは教会を作れとはひと言も言っていない（ペトロを鍵として任命したことはあります）。
Maria durch ein Dornwald ging Arr. for TTBB Arranger unknown #miguelangelo #christmas #choralmusic
Maria durch ein Dornwald ging Arr. for TTBB Arranger unknown #miguelangelo #christmas #choralmusic
The Final 60 Seconds of This English Organ Chorale are Pure Magic (score available on IMSLP)
The Final 60 Seconds of This English Organ Chorale are Pure Magic (score available on IMSLP)
Passion Chorale – Between Sorrow and Light | Organ
Passion Chorale – Between Sorrow and Light | Organ
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