movement 1

Question 1

performing forces and their handling

Answer 1

SATB choir and tutti orchestra. The vocal lines are closely doubled by the orchestra

Question 2

texture

Answer 2

-highly contrapuntal
-written in fugal style: at the start of the movement there are fugal entries (tenor-alto-soprano-bass)
-subject presented in the tenor and soprano part, tonal answer presented in the alto and bass
-the countersubject is based on the second phrase of the original hymn (tenor bar 4)

Question 3

tempo/metre/rhythm

Answer 3

-4/2, simple quadruple time
-rhythms vary from semibreves through to quavers
-melismatic phrases in continuous quavers
-tied notes in the main theme give a forward drive to the music
-occasional dotted rhythms

Question 4

text setting

Answer 4

long melismatic passages

Question 5

harmony

Answer 5

-chords are diatonic and functional
-frequent perfect cadences
-long tonic pedals (towards the end of the movement)
-suspended chords, 4-3 suspensions in bar 16 (typical of the Baroque period)
-secondary and dominant 7ths occur frequently
-most chords are in root position or first inversion (some instances in second inversion)

Question 6

melody

Answer 6

uses a cantus firmus
-melodic shape is essentially the same, rhythm is slightly altered and passing notes are added
-mainly conjunct with only small leaps (5th or 4th)
-theme is transposed down a 4th to provide an answer to the subject
-some ascending sequences, bar 11 in the violin
-mainly diatonic, some chromaticism (bar 99)
-SATB choir covers a wide range (sop 11th, alto 12th, tenor nearly two octaves, bass 10th)
-fragmentation
-scalic and melismatic

Question 7

structure/tonality

Answer 7

overall key is D major with modulations to closely related keys
-bars 1-16: brief modulation to A major (V) in bar 3 then returns to the tonic. The theme cantus firmus/chorale melody is presented after each entry
-short modulation to G mjaor (IV) in bar 12, passes through A major then returns to the tonic.
-bars 16-30: theme now in sop, countersubject in alto. Starts in tonic, brief modulation to dominant then back to tonic. Tonic pedal
-bars 30-45: mainly in tonic, brief glimpses of dominant and sub-dominant
bars 46-60: modulation into sub-d, returns to tonic
-bars 60-82: new thematic material, first heard n the bass-tenor-alto-soprano. Passes through various related keys- F#m, Bm, Em, Bm and A major
-bars 82-90: new thematic material starts in A maj- Bm-F#m, returns to A major towards the end
-bars 90-100: melodic material similar to previous section, passes through minor keys Bm, F#m, the end of the section reaches it’s chromatic climax
-bars 100-114: starts in the tonic, closely related to the opening theme. Passing modulations return to the tonic for the remainder of the movement. Embellished phrases of the chorale are presented with a final tonic pedal