Analyzing Bach Cantatas
Bach's cantatas are one of the maximum achievements of Western musical paintings, but reports of the person cantatas which are either illuminating and designated are few. during this ebook, famous Bach professional Eric Chafe combines theological, ancient, analytical, and interpretive ways to the cantatas to provide readers and listeners alike the richest attainable event of those works. A revered theorist of seventeenth-century tune, Chafe is delicate to the composer's intentions and to the long-lasting and common features of the track itself.
targeting a small variety of consultant cantatas, often from the Leipzig cycles of 1723-24 and 1724-25, and specifically on Cantata seventy seven, Chafe exhibits how Bach strove to reflect either the dogma and the secret of non secular adventure in musical allegory. Analyzing Bach Cantatas deals helpful details at the theological relevance of the constitution of the liturgical yr for the layout and content material of those works, in addition to a survey of the theories of modality that tell Bach's compositional kind. Chafe demonstrates that, whereas Bach definitely hired "pictorialism" and word-painting in his compositions, his approach to writing tune used to be a extra advanced amalgam of theological strategies and tune conception. in regards to the cantatas as musical allegories that replicate the basic tenets of Lutheran theology as tested in the course of Bach's lifetime, Chafe synthesizes a few key musical and theological principles to light up the basic personality of those nice works.
This special and insightful e-book bargains a vital technique for knowing one of many significant our bodies of labor within the Western musical canon. it is going to end up essential for all scholars and students of Bach's paintings, musicology, and theological studies.
defined whole the recovery of the major of E and the pitch D# within the cantata. yet Bach saves his coup de grace for the ultimate chorale surroundings, whose commencing words echo the "hiddenness" of God's plan for human salvation once more: "Ob sich's anliess, als wollt er nicht, / lass dich es nicht erschrecken, / denn wo er ist am besten mit, / da will er's nicht entdecken."25 those words replicate, actually, what Bach most likely perceived because the uncomplicated impulse at the back of the "Mixolydian" flat 7th.
Upward movement from dominant to tonic. (It will be pointed out that during yes types of the melody the three-syllable be aware "heiligen" factors the 1st word to have ten tones rather than the standard 9 that outcome from the two-syllable "heil'gen"; this distinction, now with seven repeated g's, indicates a "counting" effect.) If this word turns out well suited to the introductory line, "Dies sind die heil'gen zehn Gebot," then the second one line—"die uns gab unser Herre Gott"—with its preliminary excessive tones.
T H E O L O G I C A L B A C okay G R O U N D l6l "Dies sind die heil'gen zehn Gebot": The Chorale and Its heritage 161 The textual content of Cantata seventy seven 174 8 "DU SOLLT GOTT, D E I N E N H E R R E N , LIEBEN": A N A N A L Y S I S O F CANTATA 7 7 183 observation at the person pursuits 189 9 CANTATA 60: "O EWIGKEIT, DU DONNERWORT" NOTES 241 BIBLIOGRAPHY INDEX 277 271 22O Introduction M Y leader goal IN penning this ebook used to be to stimulate as huge as attainable a variety of scholars,.
"mirror and prefiguration of everlasting life," that's definitely the organization it has in lots of Bach activities (such because the "Et expecto resurrectionern mortuorum, et vitam venturi saeculi" of the Mass in B Minor and the ultimate refrain of "Ich hatte viel Bekummernis," to be taken up within the following chapter). during this approach simple Lutheran rules, similar to the theology of the move, the competition of legislations and Gospel, and the disparity among God and humanity, might be similar on to tune, with quantity.
Harmonic content material of every of the 2 cantus—that is, with a spectrum of triads shaped at the pitches of the dimensions. The Lutheran chorale culture offers us with a transparent example of this improvement. The earliest Reformation-era chorale harmonizations to put the melody within the uppermost voice, these of Lucas Osiander's Funfftzig Geistliche Lieder und Psalmen (Nuremberg, 1586), adhere with absolute regularity (one is tempted to claim "strictness") to the rules at the back of the harmonic.