The German chorale concerto emerged around 1600 as a response to the new Italian concertato style, uniting Lutheran hymnody with modern sonority and spatial writing. In works by Michael Praetorius, Heinrich Schütz, and their contemporaries, familiar chorale melodies are expanded through dialogue between voices and instruments, often conceived for multiple choirs and resonant church acoustics. Cornetti and trombones reinforce and color the vocal lines, blurring the boundary between congregational song and ceremonial music. In keeping with the original function of this repertoire, the audience will be invited to join in singing several of the traditional chorales, reconnecting performance and communal devotion.

Performers

Andrea Zomorodian and Maren Hvrinak soprano
Doug Dodson and Michael Skarke alto
Micah Perry and Michaël Hudetz tenor
Peter Schoellkopff and Jason Rober bass

Katharina Haun and Roman Golovanov cornetto
Henry van Engen and BJ Hernandez sackbut
Sydney zumMallen violone
Daniel Swenberg theorbo
Brad Bennight organ and harpsichord

Mario Aschauer artistic director