Type of piece
Two movements from Cantata Nr. 140 arranged for strings
Musical elements
Form: The piece contains two sections,
the first one a homophonic hymn in four parts and the second a
chorale prelude. The Leidig arrangement has an AB form for each
section of the piece. (Bach’s original contained a repeat
of the A section, making it AAB form.)
Melody/Harmony: The melody is from
the hymn written by Philip Niccolai. The arrangement uses Bach’s
harmonization of the hymn tune in the first section, with the
melody in the 1st violins. In the second part of the piece the
arrangement places the melody as a cantus firmus in the 2nd violins
and violas with an obbligato part in the 1st violins and the continuo
in the cello and bass parts.
Expression: There are not many dynamic
changes in the piece and no expression marks which is consistent
with the terrace dynamics of the Baroque period.
Timbre: There are great contrasts
in timbre between the first and second parts of the piece. In
the chorale section, first violins are in their bright register
on the A and E strings, with 2nds and violas on the D and G strings.
Cellos and bass cover the continuo line which covers a wider range.
The fantasy section pairs the 2nd violins and violas in strong
middle to upper registers on the cantus firmus (in octaves). The
obbligato line in the 1st violins ranges from the D string up
to the E string. The cello and basses are in their middle to low
range.
Texture: The texture is full and homophonic
in the first section, with movement provided by the continuo line.
The voices are more independent and create a multi-layered texture
in the fantasy section.
Other compositional devices
- use of suspensions and passing tones to create tension/release
in measures 7, 10, 23, and 29.
- use of moving quarter notes in the basso continuo line to
create movement within the homophonic section.
- use of sequences in measures 37-40, 43-44, and 49-52
Musical/cultural traditions and historical connections
- The Baroque Period: Bach was a composer during the high Baroque
period whose life reflected the way most composers of the time
made a living—as composers, musicians, and teachers who
worked for the church or for a wealthy patron.
- The text of Cantata No. 140, and the Niccolai hymn that was
its basis, contain Biblical connections (Matthew 25:1-13). This
text is also linked to the calendar of the Protestant church
year falling within the season of Advent (which means ‘waiting’),
a penitential season prior to Christmas.
What is the “heart” of this piece?
The musical contrast both between the sections (homophonic/polyphonic)
and within the sections (chords/moving bass line; obbligato/cantus
firmus)
