Bach-Cantata, Jesu der du meine Seele, bwv78 Bach background

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• Baroque Period and Style
• Baroque Form: Ritornello
• Chaconne
• Movement 3-Tenor Recitative
• Movement 5-Bass Recitative

Bach-Cantata, Jesu der du meine Seele, BWV78 Bach background: Germany, born 1685 Church organist Mainly church and organ music Word painting in his chorales Rich contrapuntal textures Melodies played on different instruments Modulated to related keys Baroque Period and Style: 1600 – 1750 = Baroque period ornate and dramatic all phonics used continuo used imitation and canon common melody elaborate and ornate irregular phase lengths melismatic small orchestra – continuo, strings, wind such as flute oboe an later bassoon, brass of trumpets and horns limited instruments timpani use occasionally Full SATB choir, all male Contrast Baroque Form: Ritornello-based on a recurring idea Aria-A vocal piece from an opera or cantata written for solo or duet singing. Elaborate, ornate, melismatic. Recitative-The words are an important feature, usually syllabic Cantata-music for solo voice with orchestral accompaniment Chorale-Simple Lutheran hymn Chaconne-Uses a ground bass that passes into upper parts Instruments: Violins Violas Violone/double bass Continuo – Cello and Organ Oboe Horn Flauto traverse – flute Movement 1-Chorus: The key is G minor and the time signature is 3/4. Texture is polyphonic, full of imitation. Ostinato An ostinato  is a repeated musical idea and is almost always present in this movement.  Features of the ostinato include repeated notes and descending chromatic movement.   The ostinato is also found in the oboe 1 part at Bar 9, then oboe 2 and later violin II, Bar 41. It's most often found in the continuo doubled by basses l-l-l-si-s-s-fi-f-f-m-f-m-r-d-t-l Ritornello Ritornello means returning. This theme returns every so often. The movement is in Ritornello form. The theme which returns features a dotted rhythm and leaps of 5ths and 6ths. It is played by flute oboe and violin. m-d-t-m-m-l-r-r-r-d-r-t-m-r-d-l Hymn tune (Jesu der du meine seele) The hymn (chorale) tune from the 7th movement is also used in the 1st movement. It has to be adapted to fit 3/4 time as shown. It is not sung all at once as in the 7th movement The 1st movement is structured around the hymn, so keys and modulations are the same as the 7th movement. Soprano sings hymn tune, everything else imitates This is always doubled by flute, an octave above in this movement. New Tune and countermelody A new theme is introduced halfway through the movement which features a leap of a 4th followed by repeated notes. This new theme is set in imitation with a counter melody in the bass part of 2 semiquavers and a quaver. This section also features sequences, antiphonal dialogue and dominant pedal notes Chaccone – ground bass theme heard in continuo and upper instruments and voices (oboe, descending chromatic) Similarities with the 7th Movement Both in G minor Both feature full SATB chorus and all the instruments. Both feature the hymn Jesu der du meine seele Differences with the 7th Movement Texture is generally contrapuntal with lots of imitation in the 1st movement. 7th is homophonic. 1st movement has separate instrumental "parts". in 7th, the instruments play the vocal "parts" 1st movement has other themes including the Ostinato and the Ritornello. 7th only has the Hymn tune. 1st movement is in 3/4. 7th mvt. is in 4/4 Movement 2-Aria Duetto Aria-a song usually in Italian Cantata-a work to be sung, many movements, choir, orchestra, soloists, sacred or secular Figured bass-chord indication below the bassline Canon-imitation between 2 different parts at a fixed distance Melismatic-more than 1 note per syllable Summary of text “We hurry to you, oh Jesus, for help. Hear us pray for your help. Grant us thy favour” Instruments Soprano and Alto with organ, cello and violone Ternary form (A B A) Da Capo Aria-song in ternary form where at the end there is a sign to return and play A section again. Finish on the word ‘fine’ or on the fermanta (pause) Instrumental riternello-a form where the tune keeps returning Continuo of cello and violone highlights feeling of hurrying Staccato and pizzicato aids happy mood Texture mainly polyphonic B section is minor and has slower rhythms with more sustained notes Section A Key of Bb major Inversions on figured bass Violone doubles cello harmony Perfect cadence; Bb major (bar 8) Sequences Melismatic and rhythmic word painting on word “eilen” (hurry) Parallel 3rds and 6ths Canon with soprano beginning and alto answering Repeat of instrumental riternello Section B Key of Gm to Cm to Dm to F major Canon at the 5th, 2 bar distance Slower rhythm and sustained notes Perfect cadence at Cm Instrumental riternello in Cm Word painting on “ach! Hore” (oh hear) Canon in Gm with soprano answering alto, ends in D minor Perfect cadence in D minor Polyphonic singing Melisma on “freulich” (joyful) F major and perfect cadence Movement 3-Tenor Recitative Recitative is free flowing vocal music similar to speech This recitative is an example of a recitative secco-minimum accompaniment Text is based on gospel about healing of 10 lepers Wide intervals and diminished intervals emphasise anguish Tenor and continuo Atonal, ads to despair and feeling of isolation Melody full of wide leaps ( intervals) Accompaniment is block chords and long sustained notes Augmented intervals Diminished chords in harmony Dramatic speech Short movement Mostly syllabic Melismatic – erzurnet (angry) No key signature and no form – ambiguous Movement 4-Tenor Aria Tenor Aria G minor Riternello theme played on flute Only movement in 6/8 time Binary form ABB1 Dal Segno at the end – repeat – return to sign  Flute and continuo Melismatic Repetition Light hearted and melodic Recurring instrumental riternello – sequences used Ascending scale nearly 2 octaves Has an upbeat Appoggiatura – type of ornamentation Counter melody 0 bar 21 Bar 21-22 descending repeated notes continuo Word painting: Stehet – stand, dominant pedal, long sustained notes, held nearly 4 bars Striete – to fight, sung aggressively, melismatic, loud Behertz – brave, repeated, rests, wide leaps, rising – courageous Movement 5-Bass Recitative Key of Eb Pedal in continuo Word painting-“Grab”-means grave, notes go down more than an octave Augmented intervals show pain, anguish and suffering Changes in tempo and dynamics show changing emotions Melisma used Arioso style-little aria Ends on Fm Movement 6-Bass Aria Key of Cm Continuo made of harpsichord ABA form Riternello form Polyphonic texture-oboe plays a counter melody Obligato-oboe plays distinctive tune which is essential to the piece Parallel 3rds Sequences Key change-Eb Parallel movement-6ths Melisma Ewigkeit-eternity-word painting-sustained note Antiphonal dialogue between upper strings and continuo Dal Segno-go back and play A part until you reach a fermata (pause) Movement 7-Choral Chorale (verse 12 of original hymn) G minor SATB Choir:  Soprano- doubled by flute, oboe, horn and violin Alto- doubled by oboe and violin Tenor- doubled by viola Bass- doubled by continuo (cello and organ) 4 four bar phrases AABC Homophonic Repeated notes Cadence every 2 bars (imperfect and perfect) Tierce de Picardy – ends on a major chord Contains all features of the piece Bass- very busy Balanced Directory: content -> file file -> Management and Marketing file -> Study Guide For Students Only Dress Rehearsal January 29, 2014 7: 00 pm jubilee Auditorium file -> Wireless World Research Forum London, 2002 file -> Press release 2016 eu prize for Cultural Heritage / Europa Nostra Awards file -> Clients schedule a test with either Dr. Robert Confessore at 758-2270 or April Terry at 751-4533. 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