Chorale fantasia is a type of large composition based on a chorale melody, both works for organ, and vocal settings, for example the opening movements of Bach's chorale cantatas, with the chorale melody as a cantus firmus.
Chorale fantasias first appeared in the 17th century in the works of North German composers such as Heinrich Scheidemann and Franz Tunder (who, however, rarely used the term). Their works would treat each phrase of a chorale differently, thus becoming large, sectional compositions with elaborate development of the chorale melody. By mid-18th century this type of organ composition was practically non-existent.
Johann Sebastian Bach used the term first to designate a whole variety of different organ chorale types (during his period in Weimar), and then limited its use to large compositions with the chorale melody presented in the bass. Bach also wrote movements which have been described as chorale fantasias scored for various combinations of singers and instruments, for example the opening choruses of his chorale cantatas and the closing movement of Part I of the St Matthew Passion. In the vocal pieces the chorale cantus firmus is often given to an upper voice.
In the 19th century the chorale fantasia was revived by Max Reger, who applied the term to monumental pieces based on chorale melodies.
Heinrich Scheidemann – Allein zu dir, Herr Jesu Christ
Heinrich Scheidemann – Ein feste Burg
Heinrich Scheidemann – In dich hab ich gehoffet, Herr (I)
Heinrich Scheidemann – Jesus Christus unser Heiland (I)
Heinrich Scheidemann – Vater unser (II)
Franz Tunder – Auf meinen lieben Gott
Franz Tunder – Christ lag in Todesbanden
Franz Tunder – Herr Gott, dich loben wir
Franz Tunder – In dich hab ich gehoffet, Herr
Franz Tunder – Komm, Heiliger Geist, Herre Gott
Franz Tunder – Was kann uns kommen an für Not (2 versions)
Johann Bahr – O lux beata Trinitas (1655)
Johann Adam Reincken – An Wasserflüssen Babylon
Johann Adam Reincken – Was kann uns kommen an für Not
Dieterich Buxtehude – Gelobet seist du, Jesu Christ, BuxWV 188
Dieterich Buxtehude – Ich dank dir, lieber Herre, BuxWV 194
Dieterich Buxtehude – Ich dank dir schon durch deinen Sohn, BuxWV 195
Dieterich Buxtehude – Ich ruf zu dir, Herr Jesu Christ , BuxWV 196
Dieterich Buxtehude – Magnificat Primi Toni, BuxWV 203
Dieterich Buxtehude – Magnificat Primi Toni, BuxWV 204
Dieterich Buxtehude – Nun freut euch, lieben Christen g'mein, BuxWV 210
Dieterich Buxtehude – Nun lob, mein Seel, den Herren, BuxWV 212, on Johann Gramann's hymn
Dieterich Buxtehude – Te Deum laudamus, BuxWV 218
Dieterich Buxtehude – Wie schön leuchtet der Morgenstern, BuxWV 223
Nicolaus Bruhns – Nun komm, der Heiden Heiland
Vincent Lübeck – Ich ruf zu dir, Herr Jesu Christ
Vincent Lübeck – Nun lasst uns Gott, den Herrn
Johann Sebastian Bach
vocal
Opening movements of his chorale cantatas
St Matthew Passion: the ending of Part I, "O Mensch, bewein dein Sünde groß"
Du wahrer Gott und Davids Sohn, BWV 23, movement 4
for organ
on "Komm, Heiliger Geist, Herre Gott", BWV 651 and 651a
on "Von Gott will ich nicht lassen", BWV 658a
on "Nun komm, der Heiden Heiland", BWV 659a
on "Jesu, meine Freude", BWV 713 and 713a
on "Christ lag in Todesbanden", BWV 718
on "Valet will ich dir geben", BWV 735 and 735a
Wo Gott der Herr nicht bei uns hält, BWV 1128
Max Reger
Ein' feste Burg ist unser Gott, Op. 27 (1898)
Freu' dich sehr, o meine Seele (1898)
Zwei Choralphantasien, Op. 40 (1899):
Wie schön leucht't uns der Morgenstern on the hymn by Philipp Nicolai
Straf' mich nicht in deinem Zorn! on the hymn by Johann Georg Albinus
Drei Choralphantasien, Op. 52 (1900):
"Alle Menschen müssen sterben" (1900)
"Wachet auf, ruft uns die Stimme" on the hymn by Philipp Nicolai
"Hallejula! Gott zu loben, bleibe meine Seelenfreud"
