Ms Lehmanns Model Essay

(a) VOCAL MUSIC

Evaluate Bachs use of melody, texture and tonality in Ein Feste Burg, BWV 80:
Movement I, in relation to other sacred choral music of the Baroque period.
Relate your discussion to other relevant works. These may include set works, wider
listening or other music.
Sophisticated links between the music and the historical, social and cultural context in
which it was created and developed
Presents a critical evaluative argument with sustained musical examples. Excellent use of
musical vocabulary
Relevant works are used to justify salient points
J.S. Bach worked for the Lutheran Protestant church in Germany. Martin Luthers
Reformation differed from the Roman Catholic Church namely through its use of the
vernacular language in worship; rather than Latin, which was not accessible to the laity.
Furthermore, music had a central part in worship: Luther composed several hymns himself,
one of which was the basis for Bachs Ein Feste Burg, BWV 80 cantata. A cantata was a work
for solo voices, choir and orchestra that was an integral part of Lutheran liturgy. Bach, as
Cantor of St Thomas Church in Leipzig for 27 years, was expected to compose a cantata for
every Sunday and religious holy day.
Ein Feste Burg was composed for Reformation Day on 31st October, between 1727
and 1731. It is in eight movements and is scored for four vocal soloists, SATB choir, three
oboes, violins 1, 2, viola and basso continuo provided by cello and violone, a double-bass
viol and harpsichord and organ; to which his son W.F. Bach later added a trumpet. The cantus
firmus of the cantata is based on Martin Luthers hymn Ein feste Burg ist unser Gott. In this
essay Bachs use melody, texture and tonality in the First Movement of Ein Feste Burg,
which is a chorus, will be discussed. The chorus will be related to Handels Amen from the
oratorio The Messiah, composed in 1741, as its polyphonic and religious setting has some
relevant point for comparison.
The main theme of the First Movement, announced by the tenor, is a variation of the
first two bars from Luthers hymn: it has passing notes (for example from D to A below b. 2)
and an auxiliary note (b. 4: D-E-D). The melody is smooth in its outline as is mainly
conjunct, with only a leap of a 4th and 5th at the end. Whilst the melody, which becomes a
subject for the fugal movement, is highly melismatic, it is fitting for the voice as it moves by
step. On the other hand, Handels subject in Amen consists of several large leaps (5ths,
6ths), which gives it an angular shape and is awkward to sing. Bach uses ascending
sequences (b. 11 violin 1), trills (basso continuo b. 5) and some chromaticism (b.99) in a
mainly diatonic melody. Handel has more chromatic notes in Amen for dramatic effect,
giving the music an operatic feel. Finally, whilst Bachs subjects have a clear shape with a
beginning and ending (often a rest); Handels melodies merge into one another continuously,
making them difficult to follow, or know where to breathe.

Regarding texture, the chorus is highly contrapuntal and representative of Bachs

mastery as a composer of fugues (such as his Art of Fugue or fugues in the Well-Tempered
Clavier). The subject is firstly presented by the tenor, answered by the alto in the dominant
key, followed by the sopranos and finally bass. Handel layers the subject from bass to
soprano, as if the Amen is rising from the depths. Ein Feste Burgs First Movement is
written in the style of a motet, with instruments doubling the voices, and is entirely fugal.
Handels Amen is likewise in the style of a fugue: there are passages where the voices and
instruments have discrete melodies, which creates a busy texture. However, it also has
passages of monophony; such as the bass and cello (tasto solo) at the start. And dramatic
contrasts of tutti and lighter textures; for example when a violin duet unexpectedly interrupts
two tutti sections. Whilst Handels use of texture for dramatic contrast is fitting for a concert
work; Bach shows his mastery in fugal writing with the interwoven yet clear juxtaposition of
subjects and their counter-subjects.
The tonality of the movement is D major, with the answer of the subject in the
dominant key of A Major, giving it an uplifting mood. The affection of the chorus is one of
devotion and spiritual praise, as it mainly remains in the aforementioned major keys. There
are short modulations to the subdominant G major for more reflective moments. Towards the
latter half, there is a heightened sense of emotion with new thematic material that passes
through a series of minor keys F# minor (relative to dominant key), B minor (relative to tonic
key) and E minor (relative to subdominant). Bach uses tonic pedals when re-establishing a
key, such as from b.100 in the cello. Handels Amen is also in D major, and it similarly goes
to A major for the answer; however he explores more distant keys towards the last quarter of
the piece by passing in successive bars from B minor, B major, F# minor, E major, A major
and finally D major. The juxtaposition of minor to major tonalities creates a more unstable
and dramatic section.
The First Movement of Ein Feste Burg, BWV 80 epitomises Bachs mastery of fugal
writing; with its beautiful melodic line, extraordinary textural craftsmanship and tonal
framework. Whilst intelligent in its design, the chorus has a spiritual, inner beauty as it does
not resort to the dramatic contrasts or effects of Handels Amen, which is fitting for an
oratorio and has, therefore, a more operatic musical setting. Bachs Ein Feste Burg was
intended for church service: its use of melody, texture and tonality are a musical means to
worship. It has the genuine sincerity of a masterwork that was not for show, but for inner
contemplation and congregational adoration within the Lutheran church.