movement 2

Question 1

performing forces and their handling

Answer 1

aria duet for soprano and bass with string accompaniment and solo oboe.
the oboe mainly doubles the soprano, provides the chorale melody with additional ornamentation.
the bass sings almost an independent aria.

Question 2

texture

Answer 2

-melody dominated homophony orchestral introduction and postlude, upper strings playing a semiquaver triadic line, lower strings accompaniment quaver offbeat octave leaps, walking bass
-soprano and bass highly contrapuntal, soprano sings a variation of the cantus firmus, bass sings an ornate melody
-soprano and oboe often create a heterophonic texture

Question 3

text setting

Answer 3

vocal line contains frequent long melismatic passages in the first and second movements.
particularly in the solo bass part

Question 4

harmony

Answer 4

-chords are diatonic and functional
-frequent perfect cadences
-suspensions
-secondary and dominant 7ths
-chords in root or first inversion (sometimes second)

Question 5

tempo/metre/rhythm

Answer 5

-common time (4/4) simple quadruple
-moto perpetuo semiquavers used in the opening
-rhythms are mainly semiquavers for the bass
-intricate decorative passages include demisemiquavers, dotted rhythms and syncopation

Question 6

melody

Answer 6

-soprano sings an ornamented version of the chorale melody, the melodic line is still distinct
-much of the soloists’ lines are scalic, some angular movement
-bass is highly scalic with melismatic semiquavers and is more ornate than the soprano
-some sequencing (bar 19 continuo)
-some trills in the oboe and soprano (bar 26)
-soprano range relatively narrow, 9th. bass range wider, 13th

Question 7

structure/tonality

Answer 7

throughout the movement, the soprano sings a slightly embellished version of the chorale tune. the bass sings an aria which is both ornate and demanding.

-bars 1-8: orchestral introduction.
upper strings semiquaver leaping melody accompanied by the quaver bass line, often starting on the offbeat. begins in the tonic (D major), modulates to A major and briefly passes through G major before returning to the tonic in bar 5.

-bars 9-23: bass enters with a melismatic ornate line of scalic semiquavers followed by the soprano singing an embellished version of the cantus firmus.
starts in the tonic then modulates to the dominant.
bass solo from bar 19

-bars 24-37: repeat of bars 10-23 but with slight variations, particularly in the first couple of bars.

-bars 37-60: starts in the tonic but soon modulates to the dominant.
modulates rapidly through a variety of closely related keys such as Bm and F#m.

-bars 60-69: returns to the tonic.
orchestra plays music from the opening.
vocal parts are similar to the beginning, soprano is more developed, chromatic movement alongside it in the bass as semiquavers.

-bars 69-76: orchestral music from the opening in the tonic.