Cantata No. 80 - Ein feste Burg ist unser Gott - Mvt 2

Structure

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• Orchestral introduction - Introduces soloists

• Aria for soprano and bass vocalists consisting of four sections. Section 2 is varied repeat of section 1 - Typical for central movement of a chorale to be for soloists - Bach’s Cantata No. 48 mvt 1

• Orchestra Postlude (repeat of introduction) - Symmetry with start

Tonality

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• D major - Triumphant key

• Modulations to related keys (A & G major) - Typical of Baroque writing - Vivaldi’s Gloria

• Modualations to related keys (B & F# minor) - Reflect the negative text e.g. “bleeding” - Gabrieli’s In Ecclesiis

Harmony

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• Functional Harmony - Typical of Baroque period - Handel’s Messiah: And the Glory of the Lord:

  • Perfect cadences - Defines structure / confirms cadences

  • Root position and first inversion chords - Simple harmonic accompaniment

Melody

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• Soprano sings ornaments version of chorale melody (CF) - Continuity with other movements

• Vocal lines are scalic with some more disjunct intervals (especially in bass line) - Typical Baroque melody emphasises text

• Bass vocalist has extensive semiquaver melismas - Highly decorative / intricate - Vivaldi’s Gloria

• Occiasional descending sequences - Extends melodic idea - Gabrieli’s In Ecclesiis

• Trills in oboe part - Decorative sounding - Buxtehude’s Gelobet Seist Du, Jesu Christ

• Chromaticism towards the end - Reflects more negative text

Rhythm, Tempo & Metre

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• Introduction contains upper strings with continuous semiquavers (Moto Perpetuo) along with a quaver bass line often starting on the off beat - Exciting Start

• Bass vocal line contains lots of semiquaver melismas - Draws attention to certain words - Buxtehude’s Gelobet Seist Du, Jesu Christ

• Vocal lines have:

  • Demisemiquavers

  • Dotted rhythms

  • Syncopations

-Very intricate / decoration (typical of Baroque) - Gabrieli’s In Ecclesiis

Texture

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• Orchestral introduction and postlude: Melody dominated homophony and walking quaver bass line - Simple, clear texture to contrast central contrapuntal section

• Soprano & Bass vocalist sing in counterpoint (Sop = CF, Bass = aria) - Typical intricate, complex Baroque style - Smyth’s Mass in D: Gloria

• Soprano and obeo in heterophony (Oboe doubles soprano with ornamented line) - Very decorative, helps emphasise CF - Buxtehude’s Gelobet Seist Du, Jesu Christ uses a CF

• Sometimes the soprano drops out, leaving just the solo bass vocalist - Textural variety, allows focus on specific text

Sonority

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• Aria (Duet for soprano and bass vocalists) - Typical for inner movements of chorale to be duet / for soloists - Bach’s Cantata No.48 mvt 1

• Accompanied by strings and solo oboe - Typical Baroque instrumentation (not much wind at the time) - Buxtehude’s Gelobet Seist Du, Jesu Christ