Form
The first and second movements are in sonata form; the third movement is a fugue which also has elements of sonata form. An impression of spontaneous improvisation is achieved by the overlapping and enmeshing of phrases and movements, which allows the avoidance of regular structures. All thematic phrases are also shaped irregularly, producing such great diversity that no musical idea is repeated exactly.
The opening theme of the piece provides the basis of all the rest of the thematic material. This music is an interpretation of the text 'Herr, Gott, das die Rache ist, erscheine'; a head-motif is followed by a descending chromatic scale. Ascending chords on the manual follow, a musical invocation of God. The development section of the first movement, from the allegro con fuoco, depicts the second group of verses, leading into a recapitulation in organo pleno.
The adagio second movement depicts the Bekümmernisse (sorrows) and Tröstungen (consolations) moods of the third group of verses, and closes with a reappearance of the opening theme of the sonata.
A furious fugue closes the work, depicting the God's judgement and victory over evil. The exposition and counter-exposition are regular, the subject appearing only on the tonic and dominant degrees of the scale. The opening chords of the sonata appear once more in a linking developmental episode, in a dotted rhythm and with full organ. Unlike similar dramatic compositions in which a contrasting lyrical theme is usually introduced, leading to a final victorious apotheosis, the sonata ends with an accelerated tempo and huge final C minor chords, depicting the gravity of God's judgement.
Read more about this topic: Sonata On The 94th Psalm
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