A YEAR OF BACH
COMPLETE CHORALES
Johann Sebastian BACH
Nicolas Horvath, piano
Johann Sebastian Bach’s chorales stand as timeless masterpieces of harmony, voice leading, and counterpoint—cornerstones of Western classical music that have inspired composers and performers for centuries. Drawing on melodies from a rich heritage, many centuries old and often anonymous, Bach transformed these tunes into works that remain the gold standard of the chorale tradition. In this massive undertaking, acclaimed French pianist Nicolas Horvath—renowned for his exceptional range of repertoire—interprets all 371 chorales from the Riemenschneider edition, with one chorale for each day organised into monthly albums. Perfect for music lovers, students, and anyone seeking daily inspiration, Horvath’s insightful performances invite you to experience the profound beauty and enduring legacy of Bach’s chorales in a fresh, intimate setting.
© Andy Julia
Volume 10, August
For August*, which contains only two minor feast days - St Mary Mother of our Lord on August 15th and The Martyrdom of St. John the Baptist on August 29th - the emphasis this month is on Bach’s ability to surprise the listener. Bach is often touted as a conservative composer, behind the times of his contemporaries and out of step with some of the more radical compositional techniques of his day. This could not be further from the truth. A few excellent examples include (see the notes for more detail): Chorale #2, In allen meinen Taten, BWV 367 for Bach’s usage of chord clusters; Chorale #7, Aus tiefer Not schrei ich zu dir, BWV 339 for his experimental nature in dealing with tonalities; and Chorale #26, Ach Gott, vom Himmel sieh darein, BWV 77, No. 6 for his startling lack of closure at the end of some of his most intense choral works. Bach certainly shows through these and other examples this month his ability to continue to surprise, enlighten and delight the listener.
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Volume 9, July
For July, the Liturgical calendar has only minor feast days, such as the Visitation of the Angel to Mary, St Mary Magdalene and St. James the Apostle. Though the chorales settings by Bach are not applicable to these days directly, there is much to enjoy in this volume. In particular there are many excellent examples of one of Bach’s greatest talents and achievements—that of voicing/voice leading. Bach’s masterful display of his abilities, and his influence on future composers, is present in such excellent examples as Da Christus Geboren War, BWV 187, No. 7 and Freu Dich Sehr, O Meine Seele, BWV 30, No. 6. For these and a number of other titles, the listener is presented with a wealth of opportunity to hear and experience Bach’s talents. In particular these piano versions provide unencumbered access to the inner voice workings of Bach on display.
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Volume 8, June
In June we are transitioning to a slower period of the Liturgical Year. The principal celebration focuses around Pentecost, celebrating “Der Heiligen Geist” (“The Holy Ghost”) manifestation to believers. In particular, the Chorales for the second and third Sundays of the month—Nun bitten wir den Heiligen Geist, BWV 385, and Das walt mein Gott, Vater, Sohn und Heilger Geist, BWV 291—celebrate this consummation of the Trinity. Also notable this month is the Chorale Herr Gott, dich loben wir, BWV 328, based on the historical Te Deum Laudamus chant, going back centuries to the earliest history of the Christian church. Bach uses a series of repeated segments to set this extensive text, by far the lengthiest of his chorales. Last, but not least, we have an opportunity once again to compare and contrast multiple settings of the same tune: Es woll uns Gott genädig sein has three versions, and each provides a slightly different perspective of Bach’s compositional/ harmonic talents.
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Volume 7, May
With the Chorales chosen for May, we encounter a more eclectic group of settings. The extremes of pain, death and resurrection, from the liturgical calendar of March and April, give way to a more nuanced group of compositions, with Ascension Day representing the height of the seasonal church calendar celebrations (see Chorale #29 – Ermuntre dich, mein schwacher Geist, BWV 43, No. 11). Hope, trust, faith and peace as central emotional concepts are once again emphasized and contrasted, as evidenced, for example, in #5 – Es ist das Heil uns kommen her, BWV 86, No. 6. One other interesting aspect is the inclusion of three different settings of one of Bach’s most famous chorales, Ein feste Burg ist unser Gott. The variances between the three chorales are a good opportunity to examine some of the subtleties that Bach uses in his compositional processes when approaching the identical tune, in order to address a different need or focus.
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Volume 6, April
April’s chorales probe the emotional heights and depths of the Liturgical Year. As the Easter season tends to fall during this month, the musical representations of death, resurrection and hope are fully realized within the compact framework of the chorale. From the themes of suffering and redemption found in Jesus Christus, unser Heiland, BWV 363 to the triumphant rejoicing of the resurrection in Heut triumphieret Gottes Sohn, BWV 342, Bach creates the musical, as well as textural, emotional stage for the listener. His settings of often simple tunes composed generations prior range from solemn conservatism to radical chromatic treatments. Along with the Christmas season, these chorales provide the best opportunity for the listener to experience Bach’s wide-ranging talents and brilliance, encapsulated within the simplest liturgical incarnation
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Volume 5, March
The March Chorales provide some of the most profound and expressive music that Bach created. The Lenten season provided an opportunity for Bach to create transcendent musical experiences, even in the midst of great sorrow and anguish, anticipating the time of crucifixion and death ahead. Chief amongst the most well-known settings found in this month’s Chorales are Christ lag in Todes Banden, from BWV 4 and BWV 277. In addition, 19 of the Chorales this month originate from the Matthäuspassion and the Johannespassion, two of the greatest Baroque - and choral – masterworks ever written. The listener will notice that there is a repetitive nature to the tunes represented, but due to the brilliant creativity and variety of Bach’s approach these tunes, one never recognizes these as less than individual expressions of depth and enlightenment. Inspiration, even in the midst of what may seem a heart-rending stream of overwhelming sadness, overcomes any negatives, and leaves
the listener enthralled.
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Volume 4, February
February’s Bach Chorale settings have something for everyone. From the conservative to the radical, Bach never ceases to amaze with the breadth and depth of his talent and capabilities, his ability to look forward and backward, recognizing the tradition when needed and willing to stretch the boundaries of chorale writing. His ability to write close harmonies, and his talent for voicing chords, is unrivaled. Of particular note are Chorale #25 - Herzlich lieb hab ich dich, o Herr, and Chorale #28 - O Mensch, bewein dein Sünde groß. However, if you really want to be amazed, check out Chorale #26 - Allein zu dir, Herr Jesu Christ. It’s Bach at his most forward-looking, and this chorale is unlike any other, by him or any of his contemporaries. Finally, for a good example of Bach’s adventurous harmonic language, listen to Chorale # 7 - Verleih uns Frieden gnadlich. This month of chorales is full of surprises and enlightenment and will change your perspective when it comes to assumptions about Bach’s compositional output.
Volume 3, January
Although January is one of the quieter periods of the Liturgical Year, Bach finds substantial subject matter to work with. For instance, while the theme of Nun freut euch, lieben Christen g’mein focuses on praise and rejoicing in the Epiphany season, the harmonic/melodic message portrays an intensely deeper reverence. Conversely, the chorale Liebster Immanuel, Herzog der Frommen, with its ornate trills prior to the cadences can be considered antithetical to the theme. This contrast between thematic text/title and the underpinning of the harmonic and melodic structure appears intermittently throughout the month and with a corresponding emotional signature. In this third volume of the Complete Chorales, Nicolas Horvath again masterfully navigates these complexities, bringing to life the intricate interplay between thematic content and musical structure.
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Volume 2, December
The December programme is centered around the Christmas season, one of the holiest periods of the Liturgical Year. The premiere vehicle for Bach’s output celebrating the birth of Christ was the Christmas Oratorio, BWV 248. The plethora of chorale settings within this masterwork are represented by six of his most revered settings (#13,14, 20, 21, 27, 28), including the magnificent tune “Vom Himmel hoch, da komm’ ich her”. Bach had the tendency during Christmas to repeat well-known tunes with multiple settings. December’s list therefore has four chorale tunes in two settings, and three chorale tunes in three settings, comprising slightly more than half the tracks. In addition, a number of chorales are extracts from significant Bach cantatas. Of particular note are (i) Darzu ist erschienen der Sohn Gottes (For this the Son of God appeared), BWV 40; (ii) Sehet, welch eine Liebe hat uns der Vater erzeiget (Behold, what a love has the Father shown to us), BWV 64; and (iii) Schwingt freudig euch empor (Soar joyfully upwards), BWV 36.
Volume 1, November
The November Bach Chorale settings offer a fitting prelude to the Advent and Christmas seasons. November is framed by All Saints’ Day on the 1st—a joyful festival in the Lutheran tradition and a solemn day in the Catholic—and St. Andrew’s Day on the 30th. Though none of the Chorales Bach set are specifically thematic for either of these liturgical occasions, of particular note are O Ewigkeit, du Donnerwort, BWV 397 for its straightforward, congregation-friendly setting; and Nun bitten wir den Heiligen Geist, BWV 169, No. 7, which has utilized numerous texts with the identical melody from many composers, including Bach. This collection invites reflection and spiritual preparation, making it an ideal musical companion for the season.
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ABOUT THE ARTIST
NICOLAS HORVATH is a groundbreaking pianist known for his innovative approach to Classical and contemporary music. His repertoire spans from classical masterpieces to Contemporary works and he frequently collaborates with artists from various genres and disciplines, creating unique performance experiences. A champion of Philip Glass’s works, he has performed complete cycles of Glass’s complete compositions as well as those of Erik Satie’s, in non-stop, overnight concerts. Horvath’s passion for rediscovering unjustly forgotten works, particularly those by female French composers such as Anne-Louise Brillon de Jouy and Hélène de Montgeroult (both 18th Century) and Germaine Tailleferre (20th C), has garnered widespread critical acclaim. He is also an avid promoter of music from our own time and has collaborated with leading contemporary composers from around the world, such as Terry Riley, Alvin Lucier, Régis Campo, Mamoru Fujieda, Jaan Rääts, Alvin Curran and Valentyn Silvestrov. He has commissioned and premiered a vast repertoire from a large number of composers (notably in 2014 from more than 120 composers for his Homages to Philip Glass project). Horvath began his music studies at the Académie de Musique Prince Rainier III de Monaco, and at the age 16, he caught the attention of the American conductor Lawrence Foster who secured a three-year scholarship from the Princess Grace Foundation to further his studies. His mentors include a number of distinguished international pianists, including Bruno Leonardo Gelber, Gérard Frémy, Eric Heidsieck, Gabriel Tacchino, Nelson Delle-Vigne, Philippe Entremont, Oxana Yablonskaya and Liszt specialist Leslie Howard. He is the winner of several awards, including First Prize of the Scriabin and the Luigi Nono International Competitions.
Nicolas has produced over 20 albums unanimously praised by the press and which have amassed over 66 million streams on Spotify to date. He is a Steinway Artist, an electroacoustic composer, a radio producer, a transcriber of popular music (video game, japanime, metal) and has his own label dedicated to contemporary minimalist composers
Nicolas Horvath Discoveries. In September 2024 he performed alongside French metal band Alcest at the Prophecy Fest in Germany.
‘His virtuosity is prodigious.’ – Pizzicato
‘Horvath’s pianism is intense, almost romantic.’ – American Record Guide
© Marcus Friedrich
ABOUT THE COMPOSER
Johann Sebastian Bach (1685–1750) was a German composer and musician of the Late Baroque period, widely regarded as one of the greatest composers in Western music history. Born in Eisenach into a family of church musicians, Bach held several important musical positions, most notably as Thomaskantor in Leipzig from 1723 until his death, where
he was responsible for music and directed the Collegium Musicum, a secular ensemble. Bach composed extensively across many genres, including organ works, cantatas, Passions, oratorios, motets, and instrumental music. His compositions, including the Brandenburg Concertos, The Well-Tempered Clavier, and the Mass in B minor, showcase intricate counterpoint and complex structures that deeply shaped Western music, and are celebrated for their intellectual depth, technical command, and artistic beauty.
A significant aspect of Bach’s oeuvre is his chorale settings; four-part harmonizations of Lutheran hymn tunes. Around 400 of these chorale harmonizations survive, mostly dating from the early 18th century. They typically feature a pre-existing hymn melody in the soprano, with harmonized alto, tenor, and bass parts in a homophonic texture, each syllable
of the text set once without repetition. Many chorales appear within larger vocal works such as cantatas, motets, Passions, and oratorios, often concluding cantatas with a sublime harmonization of the chorale on which the work is based. Bach also incorporated chorales in organ compositions as chorale preludes and partitas, and sometimes elaborated hymn melodies with thorough bass accompaniment. His chorale work reached a pinnacle in the St Matthew Passion, where multiple arrangements of the chorale "O Sacred Head Now Wounded" demonstrate his mastery of chorale harmonization, blending French, German, and Italian styles to express profound spiritual emotion. Bach’s chorale settings remain central to the Lutheran musical tradition and continue to influence sacred music worldwide.