What is the Secret to the Chorale? Part 2 | Illustrated Theory of Music #6

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Welcome to the Orchestra of the Age of Enlightenment's, 'Illustrated Theory of Music'. This series of short, informal videos animate the stories behind music theory and provoke new questions about what we think we know. What does a 'quaver' really mean? Why do we use bars? Why does it have to be so slow? The series is led by the OAE’s dedicated musicians but audiences are invited to ask questions, challenge conventional wisdom and help to build a new understanding of music. Please share your thoughts in the comment box below!
In this episode, OAE Principal Oboe Katharina Spreckelsen reflects on the more recent Chorales and which ones she likes the most.
Special thanks to OAE Principal Flute Lisa Beznosiuk, Principal Oboe Dan Bates, Leader Matthew Truscott and Clarinet Katherine Spencer, also to the members of the Choir of the Age of Enlightenment, Emily Dickens, David Clegg, Edward Ross and Phil Tebb.
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[@proudsnowtiger]

Lovely. Particularly like the ad-hoc avian accompaniment to Ein Veste Burg, which gives the example a lovely tinge of a recital in a cold Northern stone church on an autumn evening as the rooks fuss outside... can't wait to be back.

[@uhoh007]

Chorale Fantasias, I thought, were "written" only sparsely, usually in figured-bass, and involved the critical skill every musician then learned from the beginning: improvisation. I hope going forward that culture of inspiration and creativity will be restored like the wonderful instruments you use, and bring our attention to more than a few "geniuses".

[@annbrookens945]

This was a lovely lesson!

[@nawfalsalman3074]

Thanks a lot 🌹🌹🌹

[@idraote]

Curious, as a Southern European, this Chorale culture is completely foreign to me. Lovely explanation, though.

[@gavrinmahaffey3656]

👍

[@emilynightingale7758]

nice