The three chorales on ‘Allein Gott in der Höh sei Ehr’ reflect a diversity of stylistic approaches to the chorale. BWV662 is in a sunny A major with the chorale in the soprano register. Bach reworks the chorale melody into an expressive coloratura, richly ornamented. The expressivity influences the three-part accompaniment, whose motives track those of the chorale. The general affect lent to the prelude is one of yearning, intensified by dissonant harmonies. The ending is especially beautiful as the cadence is extended after the final note of the chorale: the melody moves from representing the chorale melody to commenting upon it as the ‘gross Fried’ (‘great peace’) of the text is given musical expression, through the silencing of the accompaniment, and a free cadenza with sudden rests in the middle, the music coming to a peaceful end on the final A before the accompaniment joins for the final cadence.

from notes by George Parsons © 2017