Bach cantatas

Question 1

Ein feste Burg origin

Answer 1

Early version in Weimar (1715?)
Later, more common version in Leipzig (1723?)
Reformation Day (Oct. 31)

Question 2

Ein feste Burg structure

Answer 2

1) Chorale fantasia – complex counterpoint, starting right off the bat with tenors singing elaborated chorale melody
2) Bass aria + soprano/oboe on second verse of chorale + Vivaldi-esque strings
3) Bass aria (SECCO + ARIOSO, as in Weimar period)
4) Komm in mein Herzenshaus – soprano
5) central chorale – 3rd verse, all voices in UNISON, 6/8
6/7) Tenor recit, SA duet
8) Final verse of chorale

Question 3

Chorale cantatas

Answer 3

Developed out of chorale concerto of Scheidt
Bach’s second cycle at Leipzig
TYpical for Bach:
Mvt 1 = chorale fantasia with chorus
Inner movements = poetic rephrasings in recit/aria pairs
Last mvt = 4-part chorale setting of last verse

Question 4

Nach dir, Herr origin

Answer 4

BWV 150
Early, possibly from Muhlhausen, or even Arnstadt
Sparse orchestration (two violins, bassoon, BC)
Lots of chorus! Four movements
No recit.

Question 5

Nach dir, Herr structure

Answer 5

1) Sinfonia (includes descending lines)
2) Chorus, Nach dir – descending lines in voices
3) Soprano aria – Doch bin und bleibe
4) Leite mich, chorus – ascending line passes through voices
5) Zedern müssen – trio for SAT; cello goes crazy!
6) Meine Augen – chorus
7) Meine Tage – chaconne chorus

Question 6

Wachet auf origin

Answer 6

BWV 140

Late! 1731, though it technically completes the second cycle

Question 7

Wachet auf structure

Answer 7

BWV 140
1) Chorale fantasia – dotted rhythms, CF in soprano (typical)
2/3) Recit/aria – Tenor recit “Er kommt”, SB duet “Wann kommst du, mein Heil?” with obb. violini piccolo – love duet!
4) Famous string melody, chorale prelude with tenors interjecting second line of chorale
5/6) recit/aria – Bass, then SB duet again – another love duet!
7) 4-part chorale

Question 8

Ich hatte viel Bekümmernis origin

Answer 8

BWV 21
Weimar, 1713
Transition from motet style on hymn or biblical texts to recit/aria pairs on poetic texts
Text by Franck

Question 9

Ich hatte viel Bekümmernis structure

Answer 9

BWV 21
Two parts: 1-6 before sermon, 7-11 after
Famous S/B duet “Komm, mein Jesu, und erquicke” –

Question 10

Actus Tragicus origin

Answer 10

Early!
BWV 106
Funeral use?

Question 11

Actus Tragicus structure

Answer 11

1) Sonatina – lush gambas, duet of recorders
2) Chorus (Gottes Zeit), arioso (T), aria (B), fourth section in which low voices sing Es ist der alte Bund: Mensch, du mußt sterben! and soprano accepts death–outlasts the BC!)
3) Alto aria, BA arioso and chorale
4) Chorus – Glorie, Lob, Ehr und Herrlichkeit

Question 12

B Minor Mass chronology

Answer 12

1724: Sanctus is written
1733: Kyrie and Gloria for Elector of Saxony
1749?: Other parts, including Symbolum Nicenum

Question 13

B Minor Mass structure

Answer 13

Kyrie – three movements

1) First Kyrie–slow intro, Kyrie fugue, 5-part chorus
2) Christe – Soprano duet
3) Second Kyrie – 4-part chorus, fugue with 1, b2, #7 subject

GLoria – nine movements

1) 5-part chorus, “Gloria” in triple meter
2) 5-part, “Et in terra pax,” much slower duple
3) Laudamus te, soprano solo
4) 4-part Gratias agimus – basically same music as Dona Nobis Pacem (comes from BWV 29)
5) Domine Deus, rex coelestis – S/T duet
6) slow 4-part chorus, descending arpeggio on “qui tollis” – from BWV 46
7) Qui sedes alto aria (starts with oboe alone)
8) Quoniam bass solo (starts with horn)
9) Cum sancto spiritu, 5-part chorus

Credo – nine movements, symmetrical structure, crucifixion at center
1) Credo – 5-part chorus

5) Crucifixus – reowkring on Weinen, Klagen… “crucifixus” passes across choir, 4-part chorus

Sanctus – 6 parts!
Big block “SAN-CTUS” chords, triplet SA lines

Osanna, Benedictus, Agnus Dei and Dona Nobis Pacem

1) OSanna – Osanna Osanna, double chorus
2) Benedictus – tenor solo with unnamed! obb. instrument
3) Osanna da capo
4) Agnus Dei alto aria
5) Dona Nobis Pacem