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