Summary Set work revision: Bach, Cantata, Ein feste Burg
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Course
Unit 3 - Appraising
Institution
PEARSON (PEARSON)
A comprehensive revision resource for the Edexcel Music A-Level set work Bach, Cantata, Ein feste Burg.
Packed with ALL the content you need to know about the set work and comes with detailed wider listening examples to help you write top essays! Very well-formatted - the perfect revision resource...
Ein Feste Burg (Bach) – Mov 1 Ein Feste Burg (Bach) – Ein Feste Burg (Bach)
Mov 2 – Mov 8
Context Historical context: Martin Luther began the Protestant Reformation in 1517, saw music as a tool for breaking
down barriers between clergy + ordinary people, pioneered the chorale (hymn tunes set to simple tunes +
designed to be sung by the congregation), incorporated into cantatas (many movements, sung + accompanied
by orchestra, subject often related to reading before it), cantus firmus = originally written by Luther –
audience would have known it well
Bach: worked as Cantor at Thomaskirche in Leipzig (provided music for 4 churches), prepared music for daily
services, wrote cantatas for weekly services, directed the first choirs
Ein Feste Burg: 1720s, written in Leipzig for Reformation Day
Perform 3 oboes, 2 violins, viola, cello + organ, Violin 1/2/viola in unison, SATB, violins/violas/continuo
ing harpsichord (+ double bass/violone), SATB oboe, continuo, soprano, bass + organ/2 oboe d’amore
Forces
Sonority Instruments double SATB lines Instrumentation without the SATB doubled by orchestra
Oboes all doubling throughout + used for the violone + organ ensures the All singers, congregation +
cantus firmus due to their piercing timbre solo voices can be clearly instruments come together in
Violone + organ also playing cantus firmus – heard a resolute ending
low range also cuts through the texture Oboe’s role remains the same
as the opening, timbre cutting
through
Structur Chorale fantasia – based on a chorale (the Aria Chorale
e cantus firmus that enters periodically) with Intro, first section repeated Two 2 bar phrases repeated,
extended/elaborated melodies in a polyphonic with slight variation, two new four approx. 1 bar phrases +
texture sections using phrases 5-8 of one 2 bar phrase to end
A: subject in TASB order, S introduces second the chorale, postlude using
phrase of chorale intro material (heard a lot
B: subject in S with second phrase of chorale throughout as accomp –
as counter-subject in A, fragments of other unifying element, similar to a
phrases of the chorale introduced ritornello)
C: subject in T + answer in alto, subject in S +
answer in B
D: subject in S + answer in B, subject in T
E: new thematic material (phrase 3) heard in
BTAS order + developed
F: new thematic material
G: new thematic material
, H: melodic material similar to previous section
in SATB order
I: melody similar to subject in T
Texture Fugal entries for each new line + polyphonic Intro = melody dom hom Four-part homophonic texture
texture Heterophonic oboe and (with passing notes)
Follows conventions of fugue (tenor with soprano (oboe has Resolute ending to cantata as
subject in tonic, alto with answer in dominant embellishments of cantus performers + congregation
+ tenor countersubject 1, soprano with firmus melody e.g. trill and proclaim their faith
subject in tonic + alto countersubject 1 + passing note semiquavers)
tenor countersubject 2, bass enters with Contrapuntal when voices
answer in dominant) enter
Framed by cantus firmus (sometimes in
cannon with continuo copying oboe 2 beats
later)
Tonality D major, frequent passing modulations to A Intro = D major with very D major
maj + G maj brief passing modulations to P. cad. in A mj at end of
Becomes highly modulatory in second half A/G major first/third phrase
when new thematic material introduced (e.g. First section: modulates to A 5th cadence in G maj + 6th in E
F# min, B min + E min) mj + passes through E minor minor
Fluid writing – moves away from a key as soon Second sections: frequent
as a p. cad. is suggested, often by using the modulations including A mj,
chord as a secondary dominant + resolving it Bm, F#m B7, Em, A mj
(results in long melodies) Dmj
Harmon Diatonic Some p. cad. used to establish Cadences: IV V I in A mj, Ic V
y 7-6 + 4-3 suspensions, tonic pedals end modulations I in D mj, Phrygian I IVb V in
sections, first inversion + seventh chords Mainly root/first inversion Gmj
Cadences: often uses I viib I as a weak chords Alto 9-8 suspension + tenor
cadence, imp. cad., 2nd inversion chords at Lower-pedal notes returned to 7-6 suspension
cadence points (e.g. occasional Ic V7 I) many times a bar in string C# diminished chord with F#
Chromatic ascending + descending melodies semiquavers (tonic of new key passing note in bass
on words ‘cruel armour’ briefly form used if after a modulation) I, Ib + Ic used in first phrase
diminished chords
Melody Mostly conjunct, repetitive, narrow range, Cantus firmus (some Relatively easy for
scalic, falls then rises, ends on 5th (simple embellished trills + congregation to sing
congregations could sing them) passing/auxiliary notes) Soprano melody: exactly the
Voices enter imitatively Independent bass melody: same as Luther’s hymn,
Cantus firmus (pre-existing melody forming very scalic + virtuosic, with conjunct, only leap is a 5th
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