Bach Cantata Background Research

Bach Cantata Background Research

1. CANTATA

   • structure
     • 1. Opening chorus
       • usually a polyphonic setting
       • orchestra presents the themes or contrasting material
     • 2. Recitative
       • musical declamation sung in the rhythm of ordinary speech with many words on the same note
     • 3. Aria
       • a long accompanied song for a solo voice
       • da capo aria
         • repeats the first part after a middle section
     • 4. Recitative (or Arioso)
       • Arioso: more melodic than recitative but less formal than an aria
     • 5. Aria
     • 6. Chorale
       • typically a homophonic setting of a traditional melody
       • four-part setting, instruments doubling voices
       • congregational hymn
   • where/when written for
     • Lutheran church services
     • 1650 - 1750
       • the main period for Lutheran music
   • position in the service
     • sung before the sermon
   • famous cantatas
     • Bach: Cantata BWV4 'Christ lag in Todesbanden'
       • 1707
       • Easter cantata
     • "Herz und Mund und Tat,"
       • 1725
       • Christmas cantata
     • Bach: BWV 110 'Unser Mund sei voll Lachens'
       • 1725
       • Christmas cantata

2. CHORALES

   • function in a Lutheran service
     • sung during a Lutheran service
       • sopranos and the congregation sing the melody along with three lower voices
         • voices doubled by instrument
       • final movement in a typical cantata
   • what is a chorale?
     • "a melody to which a hymn is sung by a congregation in a German Protestant Church service"
       • typical four-part setting
       • often used as a cantus firmus for the cantata it comes from
       • Martin Luther began translating worship texts into German from the Latin, creating an immediate need for a large repertoire of new chorales

3. BACH

   • earlier life
     • his father, Johann Ambrosius, supposedly taught young Johann to play the violin at a young age
     • Born in Eisenach, Thuringia, Germany, on March 21, 1685
     • became an orphan aged 10
     • he had a good soprano singing voice, enabling him to go to a school in Lüneburg
       • eventually, his voice changed and Bach switched to playing the violin and the harpsichord
   • jobs
     • In 1708, Bach won the post of organist at the court of the Duke Wilhelm Ernst in Weimar
       • wrote many church cantatas and some of his best compositions for the organ
     • In 1707, he worked as an organist at the Church of St. Blaise in Mühlhausen
       • musical style clashed with the church's pastor (too complex)
     • In 1717, Bach accepted a position with Prince Leopold of Anhalt-Cöthen.
       • composed concertos for orchestras, dance suites and sonatas for multiple instruments
       • wrote pieces for solo instruments, including some of his best violin works
       • as a tribute to the Duke of Brandenburg, Bach created a series of orchestra concertos, which became known as the "Brandenburg Concertos," in 1721
     • In 1723, Bach signed a contract to become the new organist and teacher at St. Thomas Church, Leipzig. (Kantor)
       • where he wrote the main part of his cantatas
         • was composing cantatas weekly to perform at chruch
       • wrote 'Passions'
         • musical interpretations of the Bible using choruses, arias and recitatives

4. GERMANY

   • the country's divide
     • Habsburg
       • owners of Austria
     • Hohenzollern
       • owners of Prussia
   • rulers
     • Charles VI 1711-1740
     • Joseph I 1690-1711
     • the 2 rulers during Bach's time were belonging to the house of Habsburg, rivals of Hohenzollern (who were owners of Brandenburg)
       • although Habsburg were in power at the time, ultimately Hohenzollerns unified their territories and created a more efficient kingdom

5. text of Cantata 80

   • 8. Chorale
     • They shall put His word aside and give no thanks for it.
       • He is with us indeed in strategy with His spirit and His gifts.
         • If they take our bodies from us, possessions, honor, child, wife, let them take them away, they have no spoils; our riches yet remain with us.
   • 1. Chorus
     • Our God is a secure fortress, a good shield and weapon; He helps us willingly out of all troubles, that now have encountered us.
       • The old, evil enemy is earnestly bent on it, great strength and much deceit are his horrid armaments, there is nothing like him on earth
   • 2. Aria
     • Everything that is born of God is destined for victory.
       • Nothing can be done through our strength, we are soon already lost.
         • The righteous Man battles for us, that God himself has elected.
           • Whoever, with the bloody banner of Christ is sworn into the fealty of baptism, conquers in the spirit again and again.
             • You ask, who is He? He is called Jesus Christ, the Lord of Sabaoth, and there is no other God, He must control the battlefield.
   • text from a hymn written by Martin Luther in 1528/9
     • hymn's lyrics are a paraphrase of Psalm 46
     • message- the 'city' of God is secure, and cannot be "shaken by the attack from outside"

6. RELIGION

   • Lutheranism
     • service language
       • native language i.e. German at the church where Bach worked
     • church decoration
       • plainer and less ornate than Catholic church
     • consubstantiation
       • the belief that the body and blood of Christ are present alongside the substance of the bread and wine (a representation rather than being 'converted' from bread/wine to blood/body like Catholics believe)
   • Catholicism
     • service language
       • entirely in Latin
     • church decoration
       • ornate decorations
       • expensive gold statues, etc
       • show wealth of church
     • transubstantiation
       • the belief that the bread and wine given at Communion become the body and blood of Jesus Christ when they are blessed