4th Movement - Tenor Aria
The flute is clearer in this version. Also notice the slower tempo
The 4th movement is easily distinguished from the 2nd as it is a Tenor solo and features the flute and continuo. Although there is no imitation here, the contrapuntal (counterpoint) texture is maintained between the flute and Tenor. Sequence is ever present however in this movement, in both parts. The opening bars on the flute are evidence of this as are bars 15, 33, 35, and 51. Note that the sequences are usually mirrored in the continuo part.
Bar21, 23, 49 and 51 are examples of sequence in the Tenor part. Again Melisma and repetition for the purposes of word painting are evident throughout. Note the words; "Zum streite", "beherzt."
This movement sees a return to the Tonic key, Gm. Note the E natural and F#, from the melodic minor scale. The opening 1 ½ bars introduces us to a recurring motif which is heard again at bars, 27(Bb) and 43(Cm) in the flute part, and 13, (Gm) 19, in the Tenor part. Learn it!
Reminder: All the modulations in this Cantata and this era are to closely related keys. Also notice the other features of the Baroque era such as, continuo, light detached articulation, long elaborite melodic phrases, small ensembles, use of contrapuntal textures etc.
Note obvious cadences; 12 (Gm), 26 and 30 (Bb), 42 (Eb) 45(Ab) 47 and 61 (Gm).
Also note the short tonic pedal at 35, and 51, and the short dominant pedal at 49 and 53 in the Tenor part.
Again there is parallel movement, this time between flute and Tenor, again in 3rds and 6ths around bars 49-52.
Often there is dialogue between (Antiphonal, they “talk to each other”)
The Movement is in Binary Form, i.e. AB
Dal Sengo means “go back to the sign”
Bar21, 23, 49 and 51 are examples of sequence in the Tenor part. Again Melisma and repetition for the purposes of word painting are evident throughout. Note the words; "Zum streite", "beherzt."
This movement sees a return to the Tonic key, Gm. Note the E natural and F#, from the melodic minor scale. The opening 1 ½ bars introduces us to a recurring motif which is heard again at bars, 27(Bb) and 43(Cm) in the flute part, and 13, (Gm) 19, in the Tenor part. Learn it!
Reminder: All the modulations in this Cantata and this era are to closely related keys. Also notice the other features of the Baroque era such as, continuo, light detached articulation, long elaborite melodic phrases, small ensembles, use of contrapuntal textures etc.
Note obvious cadences; 12 (Gm), 26 and 30 (Bb), 42 (Eb) 45(Ab) 47 and 61 (Gm).
Also note the short tonic pedal at 35, and 51, and the short dominant pedal at 49 and 53 in the Tenor part.
Again there is parallel movement, this time between flute and Tenor, again in 3rds and 6ths around bars 49-52.
Often there is dialogue between (Antiphonal, they “talk to each other”)
The Movement is in Binary Form, i.e. AB
Dal Sengo means “go back to the sign”
The Tenor melody is based on the same tune as the flute introduction above. Again it is full of sequences. Note the time signature, 6/8. The metre is 2.
The B section again goes through several different related keys. In the short example below notice the sequences in all 3 parts, melisma in the tenor, dominant pedal in the continuo (key is Cm), the generally polyphonic texture and the repetition of the word "Beherzt". Also observe the figured bass. The 2nd dominant pedal is in the tenor part.
The B section again goes through several different related keys. In the short example below notice the sequences in all 3 parts, melisma in the tenor, dominant pedal in the continuo (key is Cm), the generally polyphonic texture and the repetition of the word "Beherzt". Also observe the figured bass. The 2nd dominant pedal is in the tenor part.