Cantata 78 “Jesu Der Du Meine Seele” by Johann Sebastian Bach (1685 - 1750)
Composed on 10 September 1724
“Jesu Der Du Meine Seele” = Lord by thy cross and passion
Features of Baroque music include
- Small ensemble of instruments
- Use of harpsichord / organ with cello / bass in continuo part, using figured bass
- Polyphonic textures devices such as Canon and Imitation were frequent
- Many compositions were religious
- Early use of Diatonic harmonies
- Figured Bass -> notation in which numerals + symbols appear above or below a bass note
- Melodies were long and elaborate using ornamentation, like thrills + turns
- Dynamics less extreme than later music Terraced (sudden change) dynamics were common
- Melodic phases were long with fewer cadences
- Modulation (change of key) to closely related keys
- Pedal notes, suspension, Appogiatura, changing notes, notes of anticipation and sequences
- Wordpainting -> mood and words are illustrated by intervals, chords + melismatic passages
| Movement | Doing in Exams | Form | Voice | Key | Time Signature |
|---|---|---|---|---|---|
| 1. Chorus | Yes | Chaconne / Riternello | SATB | F minor | 3/4 |
| 2. Duet Aria | No | De Capa Aria | S + A | B flat | C |
| 3. Tenor Recitative | No | Recitative Secco | T | / | C |
| 4. Tenor Aria | No | Dal Segno ABB’ | T | G minor | 6/8 |
| 5. Bass Recitative | No | Recitative Accompagnato | B | E flat - F minor | C |
| 6. Bass Aria | No | ABA | B | C minor | C |
| 7. Chorale | Yes | AABC | SATB | G minor | C |
- This piece is elaborate, ornate and melismatic (Singing many notes to one syllable of text)
| Term | Definition |
|---|---|
| Recitative | Words are important feature, usually syllabic |
| Cantata | Music for solo voice with orchestral accompaniment |
| Chorale | Simple Lutheran hymn |
| Chaconne | Uses a ground bass that passes to upper parts |
| Soprano | The highest singing voice |
| Alto | A low boy or female voice |
| Tenor | Classical male singing voice |
| Bass | Lowest male voice |
Baroque Period and Style
- Ornale + dynamic
- All phonics used
- Continuo (Cello + Organ) used
- Mitation and canons
- Irregular and lengths
- Melismatic
- Small orchestra
- Use of timpani
- Full SATB (Soprano, Alto, Tenor, Bass) choir, All male
Bach Background
- Germany, born 1685
- Church organist
- Mainly church + organ music
- Word painting in his chorales
- Rich contrapuntal (Having two or more independent but harmonically related sounds together) textures
- Melodies played on different instruments
- Modulation to related keys
Instruments
- Violins
- Violas
- Violencello / Double Bass
- Continuo - Cello + Organ
- Oboe
- Horn
- Flauto traverse - Flute
Movement 1
- G minor
- Ritornello form - reoccuring orchestral section heard 7 times (different each time)
- Chaconne - ground bass theme heard Continuo and upper instruments and voices (oboe, descending chromatic)
- Chromatic/austinato theme in ground bass - descending Chromatic line, ends in perfect cadence
- Grief motif - syncopated rhythm, woodwind strings
- Joy motif three note idea, bar 17, continuo, canon
- Polyphonic (mainly)
- Bass voice doubles continuo, bar 61
- Voices center innitively from bar 90
- Full of perfect cadences
- Mirror canon on oboes
- Longest movement
- Pedal bar 68-71
- Sequences used
- Trills used
- Mainly syllabic
- Opening - homophonic
- Horn doubles Soprano line but not printed on score
Movement 7 - Chorale
- Verse 12 of original hymn
- G minor
- SATB choir:
- Soprano - doubled by flute, oboe, horn and violin
- Alto - double by oboe and violin
- Tenor - doubled by viola
- Bass - doubled by continuo (cello + organ)
- 4 four bar phrases AABC
- Homophonic
- Repeated notes
- Cadence every 2 bars (Imperfect + perfect)
- Tierce de picardy - ends in a major chord
- Contains all features of the piece