5.2 Organ music: chorale preludes and fugues

Baroque organ music was a cornerstone of religious worship and musical innovation. From chorale preludes to complex fugues, organists showcased their skills while supporting congregational singing and enhancing liturgical experiences.

Different regional styles emerged, each with unique characteristics. North German virtuosity, South German structure, and French elegance all contributed to the rich tapestry of Baroque organ music, shaped by religious traditions and liturgical needs.

Baroque Organ Music

Chorale prelude in Baroque organs

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  Pipe Organ | In a Helsinki Lutheran church. | Andrew E. Larsen | Flickr View original

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  Lutheran Musical Heritage: Organ Chorale Preludes of Walther, Bach and Buxtehude : Anthony Mark ... View original

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  Pipe Organ | In a Helsinki Lutheran church. | Andrew E. Larsen | Flickr View original

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Top images from around the web for Chorale prelude in Baroque organs

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  Pipe Organ | In a Helsinki Lutheran church. | Andrew E. Larsen | Flickr View original

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  organ music | Baroque concert at Good Shepherd Lutheran Chur… | Flickr View original

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  Lutheran Musical Heritage: Organ Chorale Preludes of Walther, Bach and Buxtehude : Anthony Mark ... View original

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  Pipe Organ | In a Helsinki Lutheran church. | Andrew E. Larsen | Flickr View original

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  organ music | Baroque concert at Good Shepherd Lutheran Chur… | Flickr View original

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• Short organ piece based on pre-existing chorale melody (Lutheran hymn tune)
• Served as introductions or interludes during church services to showcase organist's improvisational and compositional skills
• Helped congregations recognize and sing chorale melodies by presenting them in various contrapuntal textures
• Contributed to development of contrapuntal techniques (imitation, canon, fugue) in organ music

Structure of organ fugues

• Contrapuntal composition featuring imitation of principal theme (subject) in multiple voices
• Exposition presents subject in each voice, often in tonic and dominant keys
• Development explores subject through contrapuntal techniques (stretto, inversion, augmentation, diminution)
• Recapitulation restates subject, typically in home key, to provide sense of return and closure
• Optional coda concludes fugue, may feature final statement of subject or virtuosic passage

Styles of Baroque organ music

• North German style emphasized virtuosic, improvisatory passages and extensive use of pedal solos (Dieterich Buxtehude, Georg Böhm)
  • Incorporated chorale melodies as cantus firmus in complex contrapuntal textures
• South German style more structured and less improvisatory, influenced by Italian keyboard music (Johann Pachelbel, Johann Jakob Froberger)
  • Employed variation techniques in chorale-based works, such as chorale partitas
• French Classical style focused on clarity, elegance, and ornamentation (François Couperin, Nicolas de Grigny)
  • Composed suite-like collections of organ pieces based on liturgical themes
  • Incorporated French dance rhythms and forms (allemande, courante, sarabande) into organ music

Religious influence on organ music

• Lutheran church encouraged chorale-based compositions (chorale preludes, fantasias, variations) to support congregational singing and enhance liturgy
  • Emphasized importance of hymns and congregational participation in worship
  • Showcased organ's capabilities through virtuosic playing and complex contrapuntal works
• Catholic church primarily used organ for alternation with chant during Mass, favoring clarity and simplicity to avoid obscuring text
  • Developed organ Mass, featuring versets based on liturgical chants
  • Regulated use of instruments during Mass to maintain focus on liturgical text
• Religious doctrine and liturgical practices shaped style and function of organ music in each tradition
  • Lutheran theology's emphasis on hymns and congregational singing led to chorale-based compositions
  • Catholic Church's regulations on instrumental music influenced development of organ versets and Mass settings