THE NEW STYLE
The text of Cantata no. 61 has the more varied structure prescribed by Neumeister, with “madrigals” (recitative-plus-aria texts) and biblical verses intermixed with the chorale stanzas. Such a text is more literally homiletic, or sermonlike, than the chorale concerto. In the present case, for example, only the first verse of the actual chorale is used; the rest is commentary. That single verse (Ex. 7-9a) is given a remarkable setting: not just in “French overture style” but as an actual French overture—a stately march framing a jiglike fugue—scored, as Lully himself would have scored it, for a five-part string ensemble (two violins, two violas, cello plus bassoon continuo) supporting the usual four-part chorus (perhaps even, in Bach’s own church performances, only one singer to a part). This unusual hybrid, the kind of thing we have learned to expect from Bach, resonates in multiple ways with the chorale’s text and the cantata’s occasion.
- Citation (MLA):
- Richard Taruskin. "Chapter 7 Class of 1685 (II)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 14 Oct. 2019. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-07007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 7 Class of 1685 (II). In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 14 Oct. 2019, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-07007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 7 Class of 1685 (II)." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 14 Oct. 2019, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-07007.xml
