AQA AS Music

Bach's Cantata No.140

• sacred cantata
• written in 1731
• part of a series of 5 cantatas for every Sunday and special feast day on the Lutheran calander
• written for the 27th Sunday after Trinity - rare event
• rare event - Bach unusually used a large ensemble
• chorale used translates as - 'Wake up, the voices are calling us'
• doesn't use literal translation - syllables don't fit the music
• text - treatment of Jesus' parable - Four Wise Virgins (Bridesmaids) - through inattention they don't notice bridegroom has arrived - miss wedding and wedding feast - allegorical for Jesus; Jesus=bridegroom (Bass Voice), bride=Christian soul (soprano)
• Bach different to Handel - separates vocals and orchestral accompaniment - gives them different material - make a different interaction

Bach's Cantata No.140 - Mvt. I Wachet auf, ruft uns die Stimme

• Eb major
• each mvt. is a verse - verse 1
• Grand Maestoso intro
• violino piccolo tuned a 3rd higher

Analysis

• b. 1 1st chord is Eb major - highlights key - emphasised through homophony
• b. 1-4 antiphony between woodwind and strings
• b. 5-8 imitation between violin piccolo and 1st oboe
• b. 17 soprano voice enters on Eb above middle C
• b. 17 when voices enter orchestra becomes sparser - helps emphasis voices
• b. 17-21 canonic entries in voices
• b. 23 soprano sings sustained notes - emphasises alto, tenor and bass - contrasting to Handel

• b. 24 A♮ - hints at Bb major
• b. 25 - lands on Bb
• b. 26-28 orchestral interlude - defines each line
• b. 29 orchestra repeats semiquaver flourish
• b. 30 quite a lot of stepwise movement in voices
• b. 38-41 ascending sequences in imitation - 1st oboes and violino piccolo
• b. 43-44 word painting 'Wach auf, Wach auf' (Wake up, Wake up) - melody goes up on the word 'up'
• b. 46 orchestra returns to dotted rhythm
• b. 53 orchestral interlude - same as opening - repetition
• b. 63 semiquaver configurations in violino piccolo
• b. 71-73 canonic entries in alto, tenor and bass voices
• b. 77-78 soprano doesn't stop with other voices - sets them apart
• b. 95-96 Bach repeats the words that are commands - 'wo, wo' (come, come) - makes it dramatic
• b. 117 orchestra stops together to show start of next phrase
• b. 117 canonic entries in voices - bass comes first
• b. 118+ phrases are now a lot shorter - makes it more urgent - bridegroom is coming

• b. 20+ oboe and violin now doing their own thing rather than imitating as before
• b. 135 Alleluja section = fugal
• b. 135 altos start fugue - uncommon - starts subtle and helps it build - more realistic
• only coloratura passage - saved for Alleluja section
• b. 150 sopranos come back with sustained notes
• b. 179-180 Bach repeats the words that are commands - 'ihr, ihr' (you, you) - makes it dramatic

Bach's Cantata No.140 Mvt. II Er kommt

• recitative secco
• C minor
• basso continuo: organ - church like

Analysis

• b. 1 stereotypical chords in basso continuo
• b. 1+ less dramatic accompaniment
• b. 1+ adventurous melody - a lot of leaps - unlike Handel: tonic-dominant based

Bach's Cantata No.140 Mvt. III Wann kommst du, mein Heil?

• aria obbligato - solo and orchestra
• C minor
• story: Soprano seeks assurance the saviour will come and 'Jesus' gives the longed for answer

Analysis

• starts on anacrusis
• b. 3+ demisemiquaver flourishes - portray sopranos throughout process - confusion
• b. 22-28 violin adds decoration - unlike 'The Trumpet Shall Sound': trumpet antiphonal with voice
• b. 24 antiphony between voices
• b. 27 scalic violin

Bach's Cantata No.140 Mvt. VII Gloria sei dir gesungen

• chorale

Analysis

• simple melody throughout
• homophonic texture throughout