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Bach Cantata 78 Movement 2

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Bach Cantata 78 Movement 2

  1. 1. Bach Cantata 78:Analysis of Movement 2<br />
  2. 2. Aria Duet<br />Aria duet for soprano and alto<br />Instruments: Cello, organ and double bass<br />Has a joyful, light-hearted mood compared with movement 1<br />B flat major (modulates to C minor and D minor for the B section)<br />Common time<br />Ternary form (Da Capo Aria) and ritornello form<br />
  3. 3. Aria<br />An aria is a highly elaborate vocal piece<br />It is usually from an opera, oratorio or cantata<br />It is often in da capo or ABA form<br />A lot of the words have melismatic settings (two or more notes per syllable) in arias<br />Sequences are also very common<br />In opera, the singer was expected to decorate the second A section. This doesn’t happen here. Bach didn’t write operas!<br />Aria fell out of use in the 1800s as it was over elaborate and resulted in dramatic problems<br />
  4. 4. Text<br />This aria is joyful <br />The text talks of hastening eagerly <br />towards Jesus for help<br />There are excellent examples of word painting in this movement<br />There is a long melisma at the start on the word “eilen” which means “hasten”. The upward moving sequence used on this word captures the movement implied in the word<br />
  5. 5. Ritornello<br />The opening 8 bar ritornello introduces the instrumental themes that will be used throughout the movement<br />The cello and organ play a rocking quaver pattern<br />Meanwhile the double bass plays a pizzicato ground bass theme that moves in crotchets<br />This movement is unusual in that the continuo<br /> line is not the bottom part<br />
  6. 6. Section A<br />In B flat major and starts with an upbeat<br />Begins and ends with 8 bar ritornello sections<br />Soprano and alto enter in canon. The alto enters two bars after the soprano and a fourth lower.<br />Declamatory antiphonal dialogue between the parts for the words “O Jesu, o meister”<br />Mainly polyphonic texture, due to the canon<br />Towards the end of the section the singers sing in parallel sixths and thirds<br />There is an excellent example of word painting on the word “hasten”<br />
  7. 7. Section B<br />Begins on an upbeat in g minor and moves to c minor and d minor and finally to F major<br />Soprano and alto enter in canon at the 5thand at a distance of 2 bars<br />In this section there are slower rhythms and more sustained notes<br />Shorter ritornello passages break Section B up<br />There is word painting on the words “ach! Hore” (“oh hear”) and “freulich” (“joyful”)<br />In the second half of this section the alto enters first <br />Section B ends with a perfect cadence in F major. This prepares for an immediate return to Section A and to B flat major<br />
  8. 8. Da Capo Aria<br />As this piece is a Da Capo Aria the Section A is repeated in its entirety after Section B.<br />The piece ends with a perfect cadence in B flat major<br />

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