Dynamics

• Terraced dynamics typical of Baroque practice

• Full tutti sections create strong declamatory impact

• Contrast between:
  • Dense contrapuntal vocal writing
  • More transparent cantus firmus texture in instruments

• Final section reinforced by long tonic pedal, strengthening climactic close (Bar 114)

Rhythm / Tempo / Metre

• Simple quadruple time: 4/2

• Rhythmic values range from semibreves to quavers

• Continuous quaver movement in melismatic passages (Bars 22–24)

• Tied notes in subject create forward propulsion (Bars 1–3)

• When subject becomes tonal answer, rhythmic shape retained but intervallic structure altered (Bar 3)

• Dotted rhythms appear in later sections, especially in new thematic material (Bars 90–100)

• Syncopation increases complexity and tension, notably in tenor entry (Bar 108)

• Rising 5th motif in new material creates rhythmic drive (Bar 60)

Texture

• Highly contrapuntal; written in fugal style

• Opening layered exposition builds from T–A–S–B (Bars 1–8)

Exposition Entries:

• Tenor – Subject (Bars 1–3)

• Alto – Tonal answer; Tenor continues with countersubject (Bar 3)

• Soprano – Subject; Alto sings countersubject; free counterpoint in Tenor (Bar 6)

• Bass – Tonal answer; Soprano sings countersubject; free counterpoint in Alto & Tenor (Bar 8)

• Redundant entry of the answer in Alto (end of Bar 13)

• Countersubject derived from second phrase of chorale (Bar 4)

• Free counterpoint accompanies later entries

Cantus Firmus Treatment:

• Unembellished cantus firmus presented in three oboes (Bars 12–14)

• Imitated in canon by violone and organ (Bars 12–16)

• Cantus firmus signals end of Section 1 (Bar 16)

• Later presented in canon between oboes and continuo again (Bars 30–45)

• In final section, SATB choir return to chorale phrases 1 & 2 while oboe canon uses phrase 9 (Bars 100–114)

• Texture alternates between:
  • Dense polyphony (fugal sections)
  • Cantus firmus with imitative accompaniment

• Section 5 becomes less strictly fugal; more imitative and developmental (Bar 60)

Structure

Section 1: Bars 1–16 – Fugal Exposition

• Subject derived from first phrase of chorale; decorated form

• Countersubject derived from second phrase

• Subject first stated in Tenor (Bars 1–3)

• Tonal answer in Alto (Bar 3)

• Subject restated in Soprano (Bar 6)

• Tonal answer in Bass (Bar 8)

• Redundant answer entry in Alto (end of Bar 13)

• Section closes with cantus firmus in oboes and continuo canon (Bars 12–16)

Section 2: Bars 16–30

• Second fugal exposition

• Subject entries begin in Soprano (Bar 16)

• Voices enter in varied order

• Counterpoint increasingly free

• Modulation toward A major and G major (Bars 16–30)

Section 3 & 4: Bars 30–45 / 46–60

• Bars 30–45 repeat material of Bars 1–16 with lines 3–4 of chorale

• Soprano announces theme with countersubject; other voices become scalar and melismatic

• Section ends with perfect cadence in D major (Bar 45)

• Bars 46–60 restate Bars 1–30 material; subject in Soprano (Bar 46), answer in Bass (Bar 48), subject in Tenor (Bar 51)

• Modulation to G major (Bar 51), then return to D major (Bar 53)

• Section ends with long tonic pedal (Bar 57)

Section 5: Bars 60–72

• New thematic material based on phrase 5

• Subject begins with rising perfect 5th (Bar 60)

• Entries: Bass → Alto → Tenor → Soprano

• Harmonic exploration of F♯ minor (Bar 67)

• Cadence in A major (Bar 69)

• Chromatic bass descent outlining diminished 7th/tritone motion (Bars 69–72)

Section 6: Bars 72–82

• Based on phrase 6

• Rising 5th motif retained (Bar 72)

• Voices enter A–S–T–B

• Passes through F♯ minor (Bar 73), B minor (Bar 75), B minor again (Bar 78)

• Return to A major (Bar 80)

Section 7: Bars 82–90

• Based on phrase 7

• Rapid modulations: G major, D major, A major, F♯ minor, E minor, B minor

• Cadences on A major at section end (Bar 90)

Section 8: Bars 90–100

• Based on phrase 8

• Dotted rhythmic figure introduced (Bar 90)

• Entries: Soprano → Alto → Tenor → Bass

• Increasing chromaticism

• Climactic chromatic passage (Bar 99)

Section 9: Bars 100–114

• Final phrase (phrase 9)

• Melody related to phrases 1 & 2

• Voices enter T–B–S–A in varied order (Bar 108)

• Syncope in Tenor (Bar 108)

• Flatward modulation by 5ths: B minor → E minor → A major → return to D major (Bars 100–113)

• Touch of subdominant G major before final cadence (Bar 113)

• Final long tonic pedal in D major (Bar 114)

Melody

• Based on Luther’s chorale; cantus firmus forms structural backbone

• Opening chorale phrase:
  • Repeated tonic notes in D major
  • Falling 4th (D–A) then return to tonic

• Subject decorates falling 4th with passing notes (Bar 1)

• Leap of 4th and falling 5th added at end of subject (Bar 3)

• In tonal answer, falling 4th becomes rising 5th (D–A becomes A–D) (Bar 3)

• Passing notes disguise intervallic alteration

• Countersubject initially closely resembles chorale second phrase

• Florid melisma added on “Waffen” (Bar 4)

• Predominantly conjunct movement with occasional 4ths and 5ths

• Ascending sequence in Violin I (Bar 11)

• Increasing chromaticism in climactic section (Bar 99)

Instrumentation (Sonority)

• SATB choir and Baroque orchestra

• Three oboes prominently present cantus firmus (Bars 12–14)

• Continuo group (organ + violone) provides harmonic foundation and canon imitation (Bars 12–16)

• Strings provide imitative counterpoint and sequential figures (Bar 11)

• Vocal lines closely doubled by orchestra

• Vocal ranges:
  • Soprano: D–G♯ (11th)
  • Alto: G–D (12th)
  • Tenor: E–A (11th)
  • Bass: A–E (10th)

Harmony

• Functional, diatonic harmony with frequent modulation

• Frequent perfect cadences confirm tonal centres

• Dominant and secondary dominant 7ths used frequently

• Suspensions including 4–3 suspension (Bar 16)

• Modulation to closely related keys: A major, G major, B minor, F♯ minor, E minor

• Move to F♯ minor shifts away from “goodness” of D major (Bar 67)

• Diminished 7th harmony outlines tritone in bass (Bars 69–72)

• Increasing chromatic harmony in Bars 90–100

• Long tonic pedal strengthens final D major (Bar 114)

Tonality

• Overall key: D major

• Opening firmly establishes D major (Bars 1–6)

• Touches of dominant A major early (Bars 1–6)

• Modulations to G major and A major in mid-sections (Bars 16–30; Bar 51)

• Minor excursions: F♯ minor (Bar 67), B minor (Bar 75), E minor (Bar 82 onwards)

• Flatward circle-of-fifths motion in final section (Bars 100–113)

• Final reaffirmation of D major with tonic pedal (Bar 114)

• C naturals show that its into G major

• Flatwards tonal pattern in vocal entries on A,D,G but the Bass breakes this and enters on E(like the devil tricking us)

• In addition, althoughww the vocal entries follow the pattern above,the prevailing keys are minor,passing through F sharp minor,B minor and E minor(also the flatwards pattern