Heinrich von Herzogenberg Four chorale motetts

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.