Bach-Cantata, Jesu der du meine Seele, bwv78 Bach background
Date 28.07.2017 Size 24.73 Kb. #24029
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
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