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    IMSLP96616 PMLP54405 214711 Telemann 12 Fantasias Sheet Music

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    Ulyssesm90
    Bach was appointed as Thomaskantor at St. Thomas Church in Leipzig where he wrote a cantata for each Sunday mass for several years based on Lutheran hymns. He developed the chorale cantata form which typically includes a fantasia on the hymn tune in the first movement, inner recitatives and arias on the hymn text, and a chorale setting of the final stanza. His chorale cantata "Wachet auf, ruft uns die Stimme" follows this pattern, opening with a fantasia on the hymn tune in the soprano and including recitatives, arias, and a final chorale setting.

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    IMSLP96616 PMLP54405 214711 Telemann 12 Fantasias Sheet Music

    Uploaded by

    Ulyssesm90
    70 views2 pages
    Bach was appointed as Thomaskantor at St. Thomas Church in Leipzig where he wrote a cantata for each Sunday mass for several years based on Lutheran hymns. He developed the chorale cantata form which typically includes a fantasia on the hymn tune in the first movement, inner recitatives and arias on the hymn text, and a chorale setting of the final stanza. His chorale cantata "Wachet auf, ruft uns die Stimme" follows this pattern, opening with a fantasia on the hymn tune in the soprano and including recitatives, arias, and a final chorale setting.

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    Bach was appointed as Thomaskantor at St. Thomas Church in Leipzig where he wrote a cantata for each Sunday mass for several years based on Lutheran hymns. He developed the chorale cantata form which typically includes a fantasia on the hymn tune in the first movement, inner recitatives and arias on the hymn text, and a chorale setting of the final stanza. His chorale cantata "Wachet auf, ruft uns die Stimme" follows this pattern, opening with a fantasia on the hymn tune in the soprano and including recitatives, arias, and a final chorale setting.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    70 views2 pages

    IMSLP96616 PMLP54405 214711 Telemann 12 Fantasias Sheet Music

    Uploaded by

    Ulyssesm90
    Bach was appointed as Thomaskantor at St. Thomas Church in Leipzig where he wrote a cantata for each Sunday mass for several years based on Lutheran hymns. He developed the chorale cantata form which typically includes a fantasia on the hymn tune in the first movement, inner recitatives and arias on the hymn text, and a chorale setting of the final stanza. His chorale cantata "Wachet auf, ruft uns die Stimme" follows this pattern, opening with a fantasia on the hymn tune in the soprano and including recitatives, arias, and a final chorale setting.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    Bach’s music for the Lutheran Church

    The Lutheran hymn has high importance in the Lutheran Mass. Probably this is due to the
    number of hymns written by Martin Luther, and the importance he placed on them. He
    emphasized using hymns which used common and native language during the Mass. Bach very
    rarely wrote entire masses (like the famous Mass in B-minor), but wrote over 200 cantatas, and
    52 cantata chorales among those, which are entirely based on Lutheran hymns.

    Bach was not the first composer of chorale cantatas, but he developed a specific form for them
    that he utilized throughout his life. The first movement is a fantasia on the first stanza of the
    hymn. The hymn tune itself appears as a cantus firmus. The last movement is a chorale
    harmonization of the hymn tune. The inner movements alternate recitatives and arias which also
    use the text of the hymn, but are more freely composed. Other composers of chorale cantatas
    before Bach include Samuel Scheidt, Johann Erasmus Kindermann, Johann Pachelbel and
    Dieterich Buxtehude. Sebastian Knüpfer, Johann Schelle and Johann Kuhnau.

    Bach was appointed as Thomaskantor at St. Thomas Church in Leipzig and wrote a cantata for
    each Sunday mass every week for several years, forming cycles that followed the liturgical year.
    Bach completed his first cantata cycle in the year that marked the 200th anniversary of the
    publication of the first Lutheran hymnals. Many of the chorale cantatas from this cycle are based
    on hymns appearing in these hymnals.

    The usual format of Bach's chorale cantatas is:

    First movement: chorale fantasia, text unchanged from original hymn’s first stanza, hymn tune
    appears as cantus firmus in the soprano
    Inner movements: between three and five movements, recitatives alternating with arias, based on
    the inner stanzas of the hymn

    Last movement: chorale setting (SATB) of the final stanza of the hymn

    Bach’s chorale cantata "Wachet auf, ruft uns die Stimme", BWV 140

    ● 1st mvt, "Wachet auf, ruft uns die Stimme" translates to "Awake", we are called by the
    voice (of the watchmen), chorale fantasia, ​cantus firmus​ is sung by the soprano. The
    music is highly syncopated, and the alto tenor and bass voices freely elaborate in
    counterpoint underneath the cantus firmus, including on “Halleluja”

    ● 2nd mvt, "Er kommt" (He comes) ,recitative for tenor

    ● 3rd mvt, duet aria, "Wann kommst du, mein Heil?" (When are You coming, my
    Salvation?)

    ● 4th mvt, "Zion hört die Wächter singen" (Zion hears the watchmen singing), here the
    hymn tune is sung in its original form, set against original music in the orchestra

    ● 5th mvt, "So geh herein zu mir" (Then come in to me), recitative for bass

    ● 6th mvt, "Mein Freund ist mein!" (My Friend is mine!),[1] duet aria for soprano and bass

    ● 7th mvt, chorale, "Gloria sei dir gesungen" (Let Gloria be sung to You) SATB setting of
    the third verse of the hymn

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