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Cantata Ein feste Burg ist unser Gott BWV 80 by J S Bach (Structure…
Cantata Ein feste Burg ist unser Gott BWV 80 by J S Bach
Style/period
Baroque
Sacred text with 8 movements
Vocal composition with instrumental accompaniment.
Uses a
cantus firmus
which is a pre-existing melody used as a basis for a
polyphonic
composition.
Instrumentation
4 soloists, SATB, 3 oboes and strings
Continuo
usually
cello and organo
Sackbut strengthens the lower part
SATB and orchestra - vocal
doubled
with orchestra
Duet for soprano and bass with solo oboe and strings
Oboe doubles the soprano -
chorale melody with embellishmen
t
Chorale for SATB and orchestra -
doubling
the vocal lines
Structure
Chorus
Aria
Chorale
D major
with
modulations to closely related keys
- A major, G major, B minor and F# minor.
Fugal with subject based around the
cantus firmus
. Melody in the
tonic
and tonal answers in the
dominant
(A). New thematic material is introduced later and treated
imitatively
and
passes through related keys
. There is a
chromatic climax
(94-100) before the opening is repeated and there is a
tonic pedal
in D to confirm this.
Soprano sings
embellished
version of the chorale melody. Bass sings an
ornate
and
demanding aria
. Material form the intro returns to close the movement.
Two bar phrase
is repeated and followed by five phrases. In
D major
with modulations to other keys.
Harmony
Chords are mostly
diatonic and functional
Perfect cadences
are frequent - confirm modulation
Pedal notes
Suspensions
(16, mvt 1)
Secondary
and
dominant 7ths
Chords mostly in
root or 1st inversion
Texture
Highly contrapuntal
.
Fugal
with
imitative
entries. Tenor enters with subject (1-3) in the
tonic
and is followed by a
tonal answer
in the altos (3-6). A
counter subject
( tenors 4-6) is based on the
2nd phrase
of the hymn.
Intro uses a two part texture and includes a
walking bass
. The sop,bass and oboe entries create a
contrapuntal texture
. Decorative embellishments from the oboe create a
heterophonic texture
with the soprano.
Homophonic
chordal.
Melody
Uses a
cantus firmus
Fugal
subject in mvt 1 is mostly
conjunct
and follows the same shape as Luther's melody.
Follows the same shape as Luther's melody with the addition of
passing notes
.
Uses the chorale melody but is
ornamented
through the use of
trills
. Use of
melisma
and some
angular lines
Use of
sequences
(mvt 1)
Mostly
diatonic
with some
chromaticism
Rhythm and tempo
Ties
- drives music.
Melisma
. Few dotted rhythms.
Moto perpetuo semiquavers
at the start.
Dotted rhythms
.
Syncopation
Anacrusis
Context
Johann Sebastian Bach spent most of this life writing music primarily to fulfill the needs of his employers.
In 1723, Bach was appointed as Cantor of the Thomasschule at the Thomaskirche in Leipzig. Bach's responsibilities included preparing music for daily church services, as well as an extensive Sunday programme including a main service and three additional short services. At the main service, the choir would sing a motet, a Lutheran Mass (Kyrie and Gloria only), hymns and a
cantata (on alternate Sundays).