LDV302

Whether associated with the voice or not, these various examples show how all these chorales are intrinsically related to the notion of congregational singing: their patterns, we observe, all hark backmore or less to early forms of composition. Many chorale preludes nevertheless free themselves more clearly from the vocal line: they are more obviously autonomous, less directly concerned with preparing the congregation for the singing that follows than with giving free rein to Bach’s ‘pictorial instinct’. 11 The enrichment of the line by ornamentation ( Liebster Jesu BWV 731, Wer nur den lieben Gott BWV690), or the fluidity of a particular discourse, expressed in the style of the fantasia or the partita, do not thwart the clear, open affirmation of a simple melody. ANDRÉ ISOIR 33 11.A. Schweitzer, op.cit., p. 215