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A cantata is a substantial vocal composition with standard instrumental accompaniment. Often presented in various movements with variations of instrumental and full vocal ensemble including solos and grouped duets. Bach composed hundreds of Cantatas with 75 of them being derived from another chorale melody. Included were several Cantata cycles staring as Tom Cantor in Leipzig. Cantata BWV 4, Christ lag in todes Banden is an early sacred Bach work. This cantata is a contains eight movements with the Sinfonia being the first. Martin Luther was the first person to use the chorale which Bach later adopted. The Cantata was composed for Easter Sunday as a sacred vocal composition. The form follows the typical form for the entire cantata. It is in Bar Form- MMN. The first section (Stollen) contains two chorale phrases. The second section is a repeat of the first section, but with new text, and rhythmic differences due to extended phrases that put the beats on different parts of the measure that when the music was heard first. The third section, Abgesang, contains the last four chorale phrases with new musical material. The first movement, Sinfonia sets up the audience to a string orchestra evoking a rather minor mood. The second movement springs into an exciting pace to celebrate in a lament mood. The third movement is jubilating in nature while the four movement battles life and death. The fifth movement explores the dust setting after the battle and the sixth being the light of day, Hallelujah. Lastly the seventh displays simplicity in a four-part chorale to close the Cantata.

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“Christ lag in Todesbanden” Cantata No.4 is J.S. Bach’s earliest surviving chorale cantata. Bach was working for a protestant church in Mülhausen, Germany when he wrote the Cantata in e minor for that years Easter service. Originally it was scored for SATB, two violins, two violas, and continuo, but later performances would see doubling of the vocal parts by cornetto and three trombones. The cantata utilizes the chorale of a hymn that Martin Luther revised and translated into German during the reformation. The Reformation saw a wave of this sort of revision from Martin Luther and others, mirroring a boom in publications of hymnals in Germany. These revisions included taking melodies and texts from old Gregorian Chant, Psalms, Biblical fragments, and Latin Hymns and re-interpreting/translating them into hymns for German services. For many of Bach’s contemporaries, utilization of chorale hymns could be seen in the harmonic structure of the work, but not go much farther. Bach is the opposite, presenting a seven-movement work that looks strictly to Martin Luther’s chorale for the form, melodic structure, and text of his Cantata, not looking outside of it for any additional material. Martin Luther was not the composer of many of the melodies that he utilized for his hymns, including the one that Bach would later use for his Cantata. As stated previously, these melodies would likely come from liturgical chant or Latin hymns. This borrowing of older musical material was acceptable at that time. There wasn’t any sort of expectation to create brand new music yet. While this was a common practice, it does not diminish the substantial ability necessary to construct the hymn using these different fragments and pieces from times before, and synthesizing them into the new era they were written in. Luther credited the melody to different biblical texts including: references of the Passover lamb, from Romans 3:10-12: Revelations 12:7-11, 1 Corinthians 15:5-4, Isiah 25:8; Exodus 12:3-29 and from an ancient Easter Sequence which was used for the fourth and fifth stanzas. Luther was particularly fond of the melody, commenting on the inspiration of the Holy Spirit that the composer must have felt while writing it. He spoke specifically of its staying power, stating that it should be played every Easter Sunday. Luther’s tendency to look back for musical material is reflected in Bach’s looking back to him. Bach preferred the hymns of two authors, Martin Luther and Paul Gethardt. Including the two stated, every author Bach used material from was at least twenty years older than him, over 85% being born in the 17th century. Because of this, many of the texts and melodies reflect the events of the world in which they were created. For many of them, those events were the Reformation and the Thirty Years War which devastated Europe, killing over 8 million people not only through active warfare, but also famine and plague. The fight between life and death were ever evident in the texts of the day, not excluding Christ lag in Todesbanden. After the first performance on Easter Sunday in 1707, there were two other early documented performances of the cantata. These were while Bach was serving as Thomaskantor in Leipzig. The first performance was the first year that Bach was employed there, 1724. The subsequent year, 1725 saw the second performance. This performance saw the revised version, where the cornetto and three trombones doubled each of the vocal parts.

Sinfonia The opening for this movement, the Sinfonia is a 14 measure long for strings and continuo. Motives of the choral are stated in the movement though never fully in their complete form. As the Cantata was written for Easter Sunday, the somber tone of the Sinfonia is appropriate for the mood as Jesus was in death before he rose again. The opening first two notes announce the melody with a falling motion. Along with the falling the motion, the minor mode establishes the somber tone as previously stated. With the repeat of the two quarter notes the chorale theme is almost stated. Following the long vote values in the continuo, chains of ascending eights outline a motif that Bach will use in the later movements of this Cantata, versus 1 and 3. This movement ends on a major seventh which one turns their head at. Bach has resolved movements with a half step making the major seventh stand out. The musical composition ends to remark Christs deposition on the cross. We can see this mood in the Picardy third ending the movement, a sign of peace over death. Versus I	This movement is score for SATB choir, paired violin and viola, continuo. The relativity of this movement to the Sinfonia in the sequential order in the cantata. Prolog like, the Sinfonia presents the material the first movement will present/enhance as the chorale. The opening extended notes in the soprano presents the first word in the cantus firmus of the chorale fantasy. The continuo line is very active performing as independently and doubling the choral base. An extended version of the melody can be found in the melody part using rhythmic and melodic alternations to differ from the melody. In extension, the viola supports the tenor and alto violas in these alterations. The two Stollen present the first counterpoint using the four voices more independently. Using the word “halleluiah” ends the versus and signals the next versus to enter. At the Abgesang the vocalists and instruments move into divided, faster rhythms to celebrate the joy of Easter. Alla breve signals the close of the movement by the flourish canon to the hocket rhythm before the final cadence.

Versus II Versus II is a chorale duet in bar form, based upon a quasi-ostinato continuo. The continuo is heard independently at the beginning, separating the lines, and briefly at the end. When the continuo separates the lines, it ends on an imperfect authentic cadence always to a tonic, tonicizing G once. The movement of the continuo in upward octave leaps give the bass baroque characteristics. However, when removing the octave leaps, the bass is simply a diatonic phrase, descending in pairs of notes. This pattern relates the continuo to the leitmotif found in the cantus-firmus (the descending second). Because this versus is a depiction of death, the continuous movement in eighths of the bass with occasional sixteenths is an appropriate depiction. “The bass in the cantata seems indecisive, at times even stumbling, yet inexorable.” The voices enter the chorale hesitantly; the falling semitone of the soprano is echoed by the alto a major third lower. Because the measure is repeated, we feel again the hesitancy. The soprano continues the cantus-firmus, the we hear that the rhythms of the tune are drawn out irregularly so that the cantus-firmus sounds tired. The effect of listlessness is intensified by the mandatory repeat of the Stollen. The interlude which leads to the Abgesang is different. The voices seem to become stuck at the words “der Tod” and the phrase “Hence came death/so suddenly” is torn apart. Only two beats, set to “so bald” (so soon) remain to complete the cantus firmus phrase. Bach delays the final cadence by two measures through inserting these two echoes. The text outlines a “wail” heard by the alto in measure 35. Following, for the first and only time, the melody of a cantus firmus phrase is incomplete in the melody; however, the missing notes can be found in the continuo. In measure 40 the alto takes over the second half of the cantus firmus phrase reducing the soprano to an accompanying voice. Int his role, is rises chromatically to a peak and then moves downward an octave at the word imprisoned where it stays below the alto part and repeats “gefangen”. The hallelujah is as doleful as that of Versus one was joyful. The melody moved downward, a pattern we hear three times. The also at first follows the soprano a third lower, but here in syncopation. Then the alto sings the cantus-firmus in the dominant with the soprano syncopating a sixth above. The cadence of the sopranos concluding hallelujah is extended. The continuo is present until the very end, its significance dramatized by the E that sounds in bottomless solitude after the voices have ceased.

Versus III Versus 3 is a song of jubilation which gave the listener the coming of Jesus. With Bach’s use of ecclesia militants, the repeat quasi-ostinato continuo, but in a different style than the previous versus. This vigorous contoured motif cadence very often. Above this line, the violins use a march like style in a four measure ritonel sixteenth note fashion which rise measure by measure and descending to a cadential point. Tenor outlines the cantus firms under the violins in a predominant relation to provide clarity and precision of this movement. The repeat of M is offset by a half a measure while the instrumental bridges between M1 and M2 by the violins less involved lowered by a third and the change in continuo and ending in e major. The choral phrase N1 “Christ has taken from death all its right and power” remains altered aside instrumental changes. The tenors single the start of N2 with three notes after the violins releasing the triple stop e. These notes remain unaffected by the rest of the ensemble but the “nichts” is abruptly short and followed by a rest. Into this ominous and sudden silence, the tenor lines are unaccompanied shrill the peak tone of the cantus firms F#. The dawn out figure is much longer indicating a change in tempo to hint the sudden change to Adagio. While death mood sets the flow of time, the continuo shrinks death into nothingness with the diminished fifth, “tonus diabolicus”. The jubilant allegro section is forte in dynamic for the ring of victory. The N3 is heard in a joyous texture leading to N4 by basses stalking upward in three sequences. Taking this opportunity, the tenors move to sixteenth notes in delight. We see each sequence returns to the same pitch every other note. A melisma in the tenor double by violins flows into a sort of duet with the violin and tenor based on the same 4 note rising theme like the alla breve in Versus 1.

Versus IV Versus IV of Bach’s Cantata No. 4, Christ lag in Todesbanden, is the middle movement which functions as the Cantata’s “axis”[1] Each of the other versus have a “twin” – another movement that is reflected across the middle movement where they relate in instrumentation and form, but the middle movement stands alone. It is a quartet, SATB with no independent accompaniment, with the Cantus Firmus presented in the Alto voice. While this movement remains in em, there is frequent tonicization of the dominant, and modulation into other closely related keys (including V/V). The first statement of M1 is quickly followed by the first statement of M2. This completes the first stanza of text which reads “It was a strange war, when death and life were struggling”. The statement of both chorale phrases immediately sets up the characteristic fragmentation throughout the movement, and what these fragments represent. Contrary to other movements, each voice (and the continuo at times) frequently have full statements, restatements, and fragments of the chorale phrases even before the alto enters with its first statement. These fragments represent the struggles that we come across in life, and the war between good and evil, life and death. These fragments continue throughout the whole movement, except for the Cantus Firmus. Present numerous times in the movement, Bach utilizes canon to again create a cacophony of counterpoint before the alto comes in with the full statement of the chorale melody. This juxtaposition brings the idea that in contrast to the struggles that can be heard in the other voices, the alto voice represents God, or scripture. That amongst the chaos that can be heard throughout our lives, the pain and struggle, that there is always God and scripture standing firm against everything else. The interesting part of the last section is the dismantling of counterpoint coinciding with the text. N1 “The scripture has proclaimed this,” N2 “how one death devoured another” N3 “death has become a mockery”, N4 “Hallelujah!” The whole movement, we have heard fragments of the chorale phrases that made up constant, running counterpoint, with interjections of the Cantus Firmus. But, once we hear the words “how one death devoured another”, each line of counterpoint begins to devour the next. Beginning in the soprano after the alto statement of N2, the soprano begins a canon, with the tenor and bass following. As soon as each new voice enters, the previous one runs out of music, eventually ending in a pause where every voice is resting having devoured each other, before the statement of N3. When each voice re-enters, the texture is much different. Now, each voice accompanies the Cantus Firmus with pairs of eighth notes that are reminiscent of laughter as the words “death has become a mockery” are sung. By the end, it is clear that we are not to focus on the voices that create chaos. They will eventually collide and burn each other out. The important thing is to listen for that strong voice amidst the chaos. Versus V Verse V follows a fugal motet that portrays the battle between life and death. In the fifth verse in Bach’s Cantata no. 4, the opening is a continuo with a descending chromatic line, the traditional Baroque technique used by composers to express grief which is also commonly used to portray death. However, after the initial descending line, the continuo prepares the transition to a dance like passage of continuous eight notes which serve as a rhythmic motive until we reach the abgesang (N1). The dance like theme of this verse is provided by its meter and happens to be the only verse in ¾ with the rest being quadruple meter. Due to its contrasting style, this verse stands out more so than any other verse, thus making Verse V a solo. Though we feel the stylistic differences, their true roots are found in the text. Bach continues the tradition of reserving the solo bass voice for Christ which works well with the warmth of the full string harmony throughout, which allows listeners to easily pair the solo bass voice as the role of Jesus Christ. Up to measure 27, Bach finally decides to break up the succession of chorale phrases by inserting two measures. In the first (m.27), the bass voice keeps the suspension held in the high B, in the second, it raises to a C#, below to an F#, back up to a C# before returning to a B. By doing so, Bach creates an expressive cry and a visual representation of the cross. When adding the F# and C# to this measure, Bach creates emphasis on the word “Kruez” (cross), which is the German word for sharp. The fifth line of text, “its blood marks our door”, refers to Exodus 12 versus 21- 28, which refer to how Jehovah killed the first-born son of every household in Egypt, but spared the houses who spread the blood of a sacrificial lamb on their doors. In this section, we find an obvious style change in the music. In measure 38 (the beginning of the abgesang) the basso continuo stops the moving eight note line and moves to quarter notes. Bach uses not only the harmonic tension as seen in the outlining of diminished seventh chords in measures 65 and 66, but he also uses the physical distance between two notes to give representation. In measure 64, we see the bass voice plummet to a low E# from a high B, which is a drop of a diminished twelfth. Not only is this technically difficult, its harmonically a strong dissonance, acting as a symbol of distance between life and death and a musical symbol of horror and uneasiness. The answer to the death we just experienced in the prior measures us met with boastful jubilation in the bass voice, accompanied by fast sixteenth note passages in the violins. The Hallelujah sung by the bass voice begins on the upbeat of beat one with stress on the strong beat, almost creating a feeling of syncopation between the bass and the strings. The Verse ends with a Picardy third, a fitting end after a battle between life and death

Versus VI The Versus I chose to analyze was Versus VI, Kantate Nr. 4 “Christ lag in Todesbanden”. This versus is very similar to Versus 2 almost night and day contrast. Differences between the two versus are the voices or instruments used. The instruments highlighted more of solemn stanzas in versus 2 but both duets are accompanied by the basso continuo. The attitude of the piece is contrasting the first by yet resilient dotted rhythm of French Overture inspired by the text which states, “the high feast thus we celebrate”. This text compared to versus so is much brighter in character. The conjured ideas in versus 2, which death was uncontested ruler, is reached: they lie happily in the past through Christ and Vicarious. The free stylistic incongruities and contrasts can be stated in three different sections or labeled as Stollenx2 and Abgesang. These sectional phrases are marked and outlined in the score, red and blue. Within these sectional phrases, Chorale phrases appear entering different voices. Above the quasi-ostinato continuo, m1 is laid out by the soprano voices then mixed and supported by the Tenor voice. This statement is made in e minor dictated by the D# presented. Appearing at the word “Wonne” march like triplets yield a rolling like character in parallel sixth to end the phrase in a PAC cadence in e minor. M is repeated using Stimmtausch-where a line is repeated in reverse that was stated in previously. In this case, the tenor voice uses this technique. A melisma is found where the music has falling thirds. In this case, we can see the melisma under the word “sonne” in parallel thirds. This action extends tension and continues the julibint type character of the Versus. These out bursts end chorale phrases into exuberant flow of ornamental passages which takes out the last notes of the cantus firmus to create an illusion like hide and seek. The last section marked Abgesang different from the Stollen due to the amount of chorale phrases. On can see that N1 differs by a deceptive overlap of rhythmic imitation in the tenor voice. Looking forward, the bass continuo has three rests indicating the start of N2. Starting of the seventh line, N3 uses the soprano and tenor voice to sing four syllable and join in a long melisma. The difference in this melisma in the seventh line is the alternating triplets compared to the parallel perfect triplets. When these two voices reach the final to measures, the triplets change from alternating to parallel thirds. With the repeated exposure of the continuo after voices end refer to the beginning of the movement but also signal the transition to N4. Versus VII The final verse is in 4/4 and marked to be played at a moderately slow tempo. While we expect to hear an elaborate demonstration of the cantus-firmus to bring the cantata to a close, Bach provides a simple four-part chorale that seems restrained and unembellished. Bach chooses to forgo the ornamentation because of the importance and integration of the cantata in the Lutheran service. Rather than making the melody ornamented and intricate to be expressive, the text of the chorale carries the emotion, making it feel more organic. The four voices and continuo (doubled with bass) are reinforced, only in the second and last time, by the strings, cornet and trombone (doubling SATB voices). In the Last stanza, Bach allows the second and third syllables of the word “Hallelujah” to be pronounced simultaneously by all for voices which allows the repeated use of the word to never become static. To increase motion and fluidity, Bach adds passing eighth notes to when voices move from one syllable to the next by the step of a third, adding rhythmic intricacy to the chorale’s pace.

Terminology & Techniques The terms Abgesang and Stollen are utilized when discussing the Cantata. These terms derive from bar form (M-M-N) which can be thought of as A-A-B. The Stollen is the first section, of two or three musical phrases, which is repeated to a rhyming text. The Abgesang is the concluding section, and tends to consist of twice as many phrases (although often shorter ones) as make up the Stollen.

Bach utilizes canon, the utilization of a single, independent line of music, beginning at different times to create counterpoint, to create a cacophony of sound to represent the struggles that we face in life.

Augmentation is the modification of a subject or theme by augmenting each rhythmic value by a ratio. Bach uses augmentation in the fourth verse of the cantata to allow it to stand out from the faster statements of the cantus firmus.

Fragmentation is when a composer takes a portion of a theme or subject and uses that piece independently from the complete melody. Often used as a development technique, Bach utilizes fragmentation frequently in this cantata. This was one way he could utilize the material from Luther's hymn. Bach also used fragmentation in contrast to the complete statement to represent something that was "other" than God himself.

Leitmotif is a recurring musical theme appearing in a musical work, in the case of this Bach Cantata, vocal work. This technique was used by Richard Wager in his dramatic works. The leitmotif has two functions: one is to dramatize character/events and the other, a continual modification of the theme. Bach used this term to define all his melodies in his cantata.

Melisma is singing of one syllable of text moving between serval notes for long durations. Some refer to this term as melismatic, matched syllable to a single note. This quality of music is presented in middle eastern music in chanting. Bach used this in his cantata 4 in versus 4 and 5 specifically in the soprano voice.

Hocket, a spasmodic or interrupted effect in medieval and contemporary music, produced by dividing a melody between two parts, notes in one part coinciding with rests in the other, is utilized by Bach in his Cantata no. 4 specifically in Versus I in the last seven bars throughout the repeated hallelujahs. This was not a common practice during this time, and was done in order to create an ecstatic feel with the music.

Word painting is another technique utilized in this cantata. Word painting is the musical technique of composing music that reflects the literal meaning of a song's lyrics. This technique is used throughout the Versus.

References Albert Schweitzer, J.S. Bach, New York, 1962 Johann Sebastian Bach, and Gerhard Herz, Cantata No. 4: Christ lag in Todesbanden, New York: Norton, 1967, 26. W.E. Buszin, Luther on Music, in The Musical Quarterly, XXXII (1946), 90-91.