‘Ein feste Burg ist unser Gott’ -Bach

• Tonality

  • E minor (bars 63-64)
  • B minor (bars 65-66)
  • F minor (bars 67-68)
  • A major (bar 90)
• Heavy ornamentation of the chorale melody occurs in movement 1 & 2, with points to note like sequence -mov 1-, chromaticism (word painting) -mov 1-, and melismatic bass solo -mov 2-
• Further listening recommendations include other works by Bach such as the Brandenburg Concertos and Cantata No. 140, 'Wachet auf!', as well as later period cantatas like Britten's St. Nicolas
• Movement 8


  Insights into Bach's handling of a theme harmonised in D, e.g. perfect cadences in A major (bars 5 and 9) and imperfect cadence in E minor (bar 10)
• Movement 1 presents each phrase in a loose variation in vocal parts, with the theme reserved for oboes in canon with violone
• Bach's harmony features clearly defined cadences, triads, 7ths, pedal points, suspensions, and functional harmony
• Movement 2


  Modulations to closely related keys, e.g. A major (bar 27), B minor (bar 46)
• Movement 8 presents the chorale tune without elaboration, emphasizing powerful repeated notes and a descending scale at the end
• The mixture of syllabic word-setting and extended melismas in the choral writing of movement 1, and bass solo of movement 2, along with instrumental writing for the bass singer
• Tonality

  • In movement 1, the chorale dominates throughout, meaning that the chorale's key (D major) is of major structural importance
  • For variety, however, other related keys are employed, for example: E minor (bars 63-64), B minor (bars 65-66), F: minor (bars 67-68), A major (bar 90)
  • In movement 2, also in related keys, e.g. A major
• Harmonic content is indicated by figured bass, a form of musical shorthand in which each number below the bass line refers to an interval above
• Luther's chorale provides the melodic basis of all three movements to be studied
• No dynamics are given, as is usual in Baroque music
• Harmony


  • Triads and 7ths in various positions
  • Pedal points, e.g. movement 1, bar 27³ to bar 30³
  • Suspensions, e.g. a 4-3 suspension in movement 8, bar 2²; 7-6 suspension in movement 8, bar 8¹; 9-8 suspension, movement 8, bar 10²
  • Dissonances arising from freely moving lines and passing notes
  • Diminished 7ths, e.g. movement 1, bar 71¹-2
• Notation

  • Various forms of traditional stave notation are employed
  • Movement 1 has one stave for each instrument and vocal part, with cello and cembalo sharing a stave, and violone and organ allotted another
  • In movement 2, violins and violas are combined on the one stave
  • The chorale in movement 8 is laid out in open score, with indications regarding instrumentation at the start
• No tempo indications are given, as performers were expected to rely on time signatures and the general character of the music to sense the speed
• Cantata 'Ein feste Burg ist unser Gott' BWV 80, 1st, 2nd, and 8th movements by Bach was first performed on 31 October 1730 at St Thomas' Church in Leipzig
• The cantata required vocal soloists, a small chorus, orchestra, and continuo
• Movement 8, the chorale, requires specific instrumental forces
• In the second movement, the chorale tune and text are heard alongside Franck's poetry
• Quadruple time is also used in movement 2
• Harmonic content is indicated in the cantata
• Pause marks in the Bach chorale indicate ends of phrases rather than significant lengthening of notes
• The Lutheran Cantata was performed before the sermon and reflected the subject of the day conveyed in the preceding reading
• Movement 2 is a vocal duet for soprano and bass, with instrumental support
• The text of the cantata is taken from Martin Luther's hymn for movements 1, 2, 5, and 8, and the remaining movements are settings of texts by Salomo Franck
• The full cantata includes chorus, recitatives, arias, duets, and a chorale for congregational use
• The Cantata was composed to mark the Festival of the Reformation, celebrating Martin Luther's break with the Roman Catholic Church
• No dynamics are given in the notation
• Movement 1 of the cantata is scored for four-part chorus (SATB), three oboes, strings, and continuo instruments
• Bach chorale


  • Typically relies heavily on flowing quavers in the lower parts
• No tempo indications are given, but the time signatures and the genre provide guidance
• Movement 1 is in a formal structure with a quadruple time signature
• Pause marks in the chorale indicate ends of phrases rather than significant lengthening of notes
• Various forms of traditional stave notation are used in the cantata
• Movement 8 typically relies heavily on the chorale