THE CHORALE CONCERTO
The Lutheran chorale partita had its vocal counterpart as well, in which sacred genres that had developed elsewhere were adapted to specifically Lutheran use. The result was the so-called chorale concerto, a mixed vocal-instrumental genre that in its more modest specimens seemed a direct outgrowth of Viadana’s pioneering Cento concerti ecclesiastici of 1602 (pirated by a German publisher seven years later) and that in its more opulent ones could vie with the most extravagant outpourings of the Venetians. Its two main exponents, besides Scheidt, were Michael Praetorius (1571–1621), organist to the Duke of Brunswick (Braunschweig), and Johann Hermann Schein (1586–1630), the cantor of St. Thomas’s School in Leipzig, where J. S. Bach would occupy the same position a hundred years later.
- Citation (MLA):
- Richard Taruskin. "Chapter 2 Fat Times and Lean." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 7 Feb. 2025. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-02005.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 2 Fat Times and Lean. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 7 Feb. 2025, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-02005.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 2 Fat Times and Lean." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 7 Feb. 2025, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-02005.xml
