Cantata
Definition
Cantata
A sacred musical work performed at Lutheran church service in Germany
It consists of several movements for soloists, chorus, and orchestra
The text is based on the prescribed Bible reading of that week, set in German (the vernacular language of the country).
The music is based on a chorale tune related to the Bible reading.
Chorale
A Lutheran hymn tune sung by the congregation during religious service (they would know the words and melodies by heart and sing as a group).
The music was composed in the 16th and 17th centuries or adapted from folksongs and Catholic hymns.
The texts were vernacular (sung in German instead of Latin), and the text setting is often syllabic (one note per syllable)
Listening
Johann Sebastian Bach, Cantata No. 140 Wachet auf, ruft uns die Stimme (Awake, a Voice is Calling Us) (1731)
Bach became the music director at St. Thomas’s Church in Leipzig from 1723 till his death. The cantata was composed for the twenty-seventh Sunday after Trinity Sunday.
Instrumentation: French horn, two oboes, English horn, strings, chorus (four voices: SATB) and basso continuo (organ, bassoon and cello)
Most of the movements were based on a chorale tune Wachet auf, composed by Philipp Nicolai around 130 years earlier.
The gospel reading of the day was about the tale of the wise and foolish virgins who attend a wedding. The wise ones are prepared for the bridegroom’s arrival: They have brought extra oil for their lamps in case he is late. The foolish ones are unprepared: They must leave to buy oil, and the bridegroom arrives in their absence, at midnight.
Then shall the kingdom of heaven be likened unto ten virgins, which took their lamps and went forth to meet the bridegroom. And five of them were wise, and five were foolish.... And at midnight there was a cry made, Behold the bridegroom cometh; go ye out to meet him. Then all those virgins arose, and trimmed their lamps. And the foolish said unto the wise, Give us of your oil; for our lamps are gone out. But the wise answered, saying, Not so; lest there not be enough for us and you: but go ye rather to them that sell, and buy for yourselves. While they were away the bridegroom arrived; and those who were ready went in with him to the wedding; and the door was shut. … Keep awake then; for you never know the day or the hour. (Matthew 45)
First Movement – Chorus
Instrumentation: 2 oboes, English horn, French horn, strings, basso continuo (organ, bassoon and cello), and choir (soprano, alto, tenor and bass)
This movement is based on the ritornello principle:
1. ritornello theme: performed by the orchestra; it is characterized by dotted rhythm, resembling a majestic procession or march; it returns several times within this movement; primarily homophonic texture
2. different phrases of the chorale tune: performed by the soprano in long notes (dotted minum), accompanied by an imitative texture among the other voices of the choir; primarily polyphonic texture
0:08 Ritornello, performed by the orchestra; dotted rhythm (suggestive of a procession or march); rhythm speeds up in the second half of theme, presenting a series of ascending scales
0:44 Chorale tune – Phrase 1 "Wachet auf, ruft uns die Stimme" (Wake up, the voice of watchmen), sung by the soprano; supported by the other voices in imitative texture
1:02 Orchestral interlude
1:10 Chorale tune – Phrase 2 "der Wächter sehr hoch auf der Zinne" (calls us from high on the tower); ascending scales in the lower voices depict the word hoch (high)
1:31 Orchestral interlude
1:42 Chorale tune – Phrase 3 "wach auf, du Stadt Jerusalem!" (wake up, you city of Jerusalem!); declamatory ascending leap to emphasize "wach auf" (wake up)
2:04 Orchestral interlude
2:39 Chorale tune – Phrase 1 "Mitternacht heisst diese Stunde" (This hour is named midnight)
3:27 Ritornello
3:07 Chorale tune – Phrase 2 "sie rufen uns mit hellem Munde" (they call to us with bright voices)
3:13 Ritornello (interlude)
3:39 Chorale tune – Phrase 3 "wo seid ihr klugen Jungfrauen?" (Where are you, wise virgins?)
3:53 Orchestral interlude
4:27 Chorale tune – Phrase 4 "Wohl auf, der Bräut’gam kömmt" (Cheer up, the bridegroom is coming)
4:43 Orchestral interlude
4:50 Chorale tune – Phrase 5 "steht auf, die Lampen nehmt! Alleluja!" (stand up, take your lamps! Hallelujah!)
5:05 Orchestral interlude
5:09 A fugato episode "Alleluja!" (Hallelujah!); sung first by the altos, presenting a jubilant melody in rapid notes, imitated by the tenor then the bass
5:42 Chorale tune – Phrase 6 "Alleluja!" (Hallelujah!)
5:54 Orchestral interlude
6:06 Chorale tune – Phrase 7 "Macht euch bereit" (Make yourselves ready)
6:13 Orchestral interlude
6:25 Chorale tune – Phrase 8 "zu der Hochzeit" (for the wedding)
6:43 Orchestral interlude
6:46 Chorale tune – Phrase 9 "ihr müsset ihm entgegen gehn" (you must go forth to meet him)
7:08 Ritornello – Complete
Movement 4 – Tenor Chorale
Instrumentation: violins, violas, basso continuo and choir (tenor)
The violins and violas play in unison, presenting a dancelike melody (with slurred notes) representative of the maidens' procession to the lord's supper. This strings melody is pit against the chorale tune, both sounding in counterpoint with each other.
15:18 Ritornello, a dancelike melody performed by violins and violas in unison; walking bass in the basso continuo
16:03 Chorale tune – Phrases 1, 2 & 3; the strings performs fragments of the ritornello theme
16:33 Ritornello
17:16 Chorale tune – Phrases 1, 2 & 3
17:46 Ritornello
18:12 Chorale tune – Phrases 4, 5 & 6
18:36 Ritornello (in minor)
18:56 Chorale tune – Phrases 7, 8 & 9
Movement 7 – Chorale
Instrumentation: entire orchestra and choir
The chorle tune is presents by the choir (accompanied by the entire orchestra that doubles the voices) in a homophonic texture. The congregation joins in during this movement, singing the chorale with the choir.
26:44 Chorale tune – Phrases 1–3 (singing Verse 1)
27:17 Chorale tune – Phrases 1–3 (singing Verse 2)
27:50 Chorale tune – Phrases 4–9 (second part of the chorale melody)