Bach Cantata - Structure of A Bach Cantata

Structure of A Bach Cantata

A typical Bach cantata of his first year in Leipzig follows the scheme:

1. Coro – opening chorus
2. Recitativo
3. Aria
4. Recitativo (or Arioso)
5. Aria
6. Chorale

The opening chorus (German: Eingangschor) is usually a polyphon setting, the orchestra presenting the themes or contrasting material first. Most arias follow the form of a da capo aria, repeating the first part after a middle section. The final chorale is typically a homophon setting of a traditional melody.

Bach used an expanded structure to take up his position in Leipzig with the cantatas Die Elenden sollen essen, BWV 75, and Die Himmel erzählen die Ehre Gottes, BWV 76, both in two parts, to be performed before and after the sermon ("post orationem") and during communion ("sub communione"), each part a sequence of opening movement, five movements alternating recitatives and arias, chorale. In an exemplary way both cantatas cover the prescribed readings: starting with a related psalm from the Old Testament, Part I reflects Gospel, Part II the Epistle.

Bach did not follow any scheme strictly, but composed as he wanted to express the words. A few cantatas are opened by an instrumental piece before the first chorus, such as the Sinfonia of Wir danken dir, Gott, wir danken dir, BWV 29. A solo movement begins Gott, man lobet dich in der Stille, BWV 120, because its first words speak of silence. Many cantatas composed in Weimar are set like chamber music, mostly for soloists, with a four-part setting only in the closing chorale, which may have been sung by the soloists. In an early cantata Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172, Bach marked a repeat of the opening chorus after the chorale.

The chorale can be as simple as a traditional four-part setting, or be accompanied by an obbligato instrument, or be accompanied by the instruments of the opening chorus or even expanded by interludes based on its themes, or have the homophon vocal parts embedded in an instrumental concerto as in the familiar Herz und Mund und Tat und Leben, BWV 147, or have complex vocal parts embedded in the concerto as in Ärgre dich, o Seele, nicht, BWV 186, in a form called Choralphantasie (chorale fantasia). In Nun komm, der Heiden Heiland, BWV 61, for the 1st Sunday in Advent, the beginning of a new liturgical year, he shaped the opening chorus as a French overture.