Bach - Cantata Eine feste Burg ist unser Gott - Movements 1, 2 & 8

Harmony & Tonality

Melody

General Context

Instrumentation

Rhythm & Metre

Structure & Form

Texture

Cantata BWV 80: Ein feste Burg ist unser Gott was written in Leipzig for Reformation Day (a religious holiday which celebrates the Protestant reformation in Europe).

Johann Sebastian Bach (1685-1750) is known for his advancement of Baroque techniques and exemplary use of 4-part harmony.

His unique composing style is a fusion of many European styles - including German, Italian and French - that he was largely inspired by during his lifetime.

He was especially influenced by Antonio Vivaldi - whom he studied and took inspiration from.

He was key to both music in the Baroque era and today - 4-part writing being based on the practises he devised.

He wrote primarily sacred music but the style depended upon the various points of his career.

When in Leipzig, the majority of the music he composed were Cantatas.

Ein feste Burg uses CANTUS FIRMUS from a Lutheran Hymn (Martin Luther) of the same name.

Mov 1 - Fugal in style -Bars 1-16 -->

Then Tonal Answer in Alto in dominant of A major (similar shape to 2nd part of Lutheran hymn); Counter-subject in Tenor

Subject in Soprano; Counter-subject in Alto; Free material in Tenor

Begins with Subject in Tenor in tonic of D major (Based on Lutheran Hymn)

Tonal Answer in Bass; Counter-subject in Soprano; Free material in Tenor and Alto.

Mov 1 - SATB choir; full orchestral tutti (oboes, strings, organ and continuo)

Contrapuntal/Fugal

Augmentation

Melismatic text-setting

Mov 1 throughout

Mov 1 - Oboe and Organ play subject in augmentation

Canon and Imitation

Throughout Mov 1

Mov 1 - in fugal sections of SATB

Conjunct

Mov 1 - mostly conjunct but with leaps of P4ths and P5ths

Chromaticism

Mov 1 - some chromaticism in middle section - text-setting --> devil and evil

Word-painting

Mov 1 - ascending sequences in Soprano counter-subject = raising to heaven

Syncopation

Mov 1 - frequent uses of syncopation - e.g. the first time the Soprano has the counter-subject

Pedals

Mov 1 - tonic (D) pedal in the organ shortly before the middle section

Closely related keys

Use of Major/Minor to emphasise text

Mov 1 - Subject in tonic (D), modulates to dominant (A) for tonal answer

Mov 1 - middle section - negative text - modulates to more removed keys like F#min and Bmin

Mov 1 - middle section (now modulated to Bmin) dominant (F) pedal

Mov 2 - Aria for Soprano and Bass

Mov 2 - Soprano and Bass duet; string accomp and solo oboe (which doubles Soprano)

Mov 2 - when all play/sings - highly polyphonic

Heterophonic

Mov 2 - Soprano and Oboe

Mov 2 - especially Bass solo part.

Scalic passages

Mov 2 - most of soloist's parts

Melody-dominated Homophony

Mov 2 - orchestral intro and postlude

Mov 8 - Chorale (a hymn sung at protestant church) for SATB choir

Mov 8 - Chorale for SATB choir and orchestral accomp

Homophonic

Mov 8 - SATB

Passing Notes

Mov 8 - Bach uses accented and unaccented passing notes to add interest to the highly homophonic chorale

Syllabic text-setting

Mov 8 - highly syllabic voice parts

Mov 8 - primarily conjunct vocal lines

4-3 Suspensions

Mov 8 - in the Alto at the beginning

Common Time

Mov 2 & 8

Cut Common Time

Mov 1

Perfect and Imperfect cadences

Mov 8 - at the end of almost all phrases

Ich Elender Mensch, Bach - also based on a CANTUS FIRMUS

Ich Elender Mensch, Bach - Mov 1 - accented passing notes

Ich Elender Mensch, Bach - Mov 1 - chromaticism in accomp

Ich Elender Mensch, Mov 1 - same instrumentation but with an added trumpet

Imitative vocal entries and canonic accomp entries - Ich Elender Mensch, Mov 1

Ich Elender Mensch, Mov 1 - 3/4 with cadential hemiola

Ich Elender Mensch, Mov 1 - Chorus not fugal

Ich Elender Mensch, Mov 2 - Accompanied recitative not Aria

However, both have a reduction in texture when compared to 1st movs

Ich Elender Mensch, Mov 2

Ich Elender Mensch, Mov 2 - very syllabic

Ich Elender Mensch, Mov 2 - contrast - tonally unstable

Ich Elender Mensch, Mov 2 - ends on V-I tierce de picardie

Ich Elender Mensch, Mov 7 - also a chorale

Handel's Messiah, And With His Stripes - a true fugue!

Ich Elender Mensch, Mov 7 - also a choral for SATB

Handel's Messiah - Surely He Hath Borne Our Griefs

Handel's Messiah - Surely He Hath Borne Our Griefs - syllabic conjunct vocal parts

Handel's Messiah - Surely He Hath Borne Our Griefs - contrast - very little syncopation

Handel's Messiah - And With His Stripes - Fugue

Handel's Messiah - Surely He Hath Borne Our Griefs - mostly melody dom hom

Handel's Messiah - Surely He Hath Borne Our Griefs - suspensions

Handel's Messiah - And With His Stripes - also has tonal answer