Heinrich von Herzogenberg’s interest in the motet form based on a cantus firmus can be traced back to the middle years of his tenure in Leipzig [1875–1885]. For three of the four chorale motets [Nos. 1, 3, 4] he chose hymns which were also known as “traditional melodies” outside a liturgical context and, in two cases [Nos. 3 and 4], were sung by both faiths. Each of the four chorale motets are concerned with suffering and death. With regard to the size of the choir, Herzogenberg envisioned a large mixed choir. Therefore, larger choirs can also sing the motets a cappella.
- ISMN: 9790007009120 (M007009120)