Choral prelude in its fullness: on the quest of concert performance of choral and choral prelude

Abstract

In this short article we would like to address a very important issue in performance, namely the performance of the chorale preludes. Should the connection between the spiritual text of the chorale and its treatment (a corresponding music piece) be manifested for the deepest spiritual interpretation of the latter?

The relevance of the study is determined by the fact that, unfortunately, the modern listeners and performers sometimes fail to see the relationship between the chorale treatment, the original melody and, most importantly, the text and meaning, which is the basis of the instrumental part.

That a chorale prelude performance may be combined with the singing of the chorale is shown by the concert practice of the famous organist and musicologist Albert Schweitzer. An analysis of Schweitzer's performance programs between 1928 and 1935 clearly demonstrates that organ chorale preludes were frequently performed by him side by side with a choir singing the corresponding chorale. In addition to the analysis of historical documents, which serves as the basis of the methodology of the paper, I would like to present some arguments for the need to preserve and develop such a performing practice.