Movement 4: Tenor Aria

General Overview

The fourth movement of the cantata is an expressive aria for tenor, featuring obbligato flute, continuo, and a string accompaniment. The text reflects on the redemptive power of Christ's blood, with the music capturing both the sorrow of sin and the hope of forgiveness.

Form and Structure

• Binary Form: The movement follows a two-part structure (AB), with each section repeated:
  • Section A: Introduces the main theme, meditative and lyrical.
  • Section B: Provides contrast, with more dramatic harmonic shifts and melodic tension.
• The repetition of each section allows for further ornamentation and expressive interpretation during performance.

Instrumentation and Texture

Tenor Voice:

• Carries the main melody, marked by flowing, lyrical lines that are expressive and reflective.

Obbligato Flute:

• Plays a prominent role, weaving intricate, ornamented counter-melodies that interact closely with the tenor line.
• The flute's light, delicate timbre symbolises the purity of Christ's sacrifice.

Continuo and Strings:

• Provide harmonic support and rhythmic stability.
• The strings enhance the movement's emotional depth through sustained chords and gentle melodic interjections.

Melodic Features

Tenor Line:

• Features smooth, flowing phrases that reflect the meditative and lyrical nature of the text.
• Ornamentation, including trills and passing notes, adds expressive detail.
• Ascending melodic lines convey hope and spiritual upliftment, while descending phrases reflect repentance.

Flute Part:

• Highly ornamented, with rapid passages and decorative flourishes.
• Echoes and elaborates the vocal line, creating a sense of dialogue between voice and instrument.

Harmonic and Rhythmic Features

• Key: The movement is in G minor, reflecting its introspective and meditative tone.
• Harmony:
  • Functional harmony supports the vocal and instrumental lines, with frequent modulations to related keys adding variety.
  • The use of dissonance highlights moments of emotional tension, resolving into consonance to reflect spiritual resolution.
• Rhythm:
  • The rhythm is steady and flowing, providing a reflective and contemplative quality.
  • Subtle syncopations in the obbligato flute part add rhythmic interest and momentum.

Word Painting

"Blut" (Blood):

• Melodic and harmonic emphasis on this word reflects its importance in the text, symbolising Christ's sacrifice.
• Descending lines may represent the flow of blood as a redemptive force.

"Durchstreicht" (Erases):

• Melodic gestures and harmonic shifts underline the cleansing and transformative nature of forgiveness.

Dynamics and Performance Practice

Dynamics:

• Not explicitly marked but implied by the text and musical phrasing.
• Performers should use crescendos and diminuendos to reflect the emotional arc of the aria.

Articulation:

• The tenor and flute lines should maintain clarity and precision, with phrasing shaped to enhance the text's meaning.

Ornamentation:

• Repeated sections offer opportunities for tasteful ornamentation, especially in the flute and vocal lines.

Key Features of Baroque Arias

• Obbligato Instrument: The flute's prominent role reflects the Baroque tradition of integrating instrumental and vocal lines.
• Contrast in Sections: The binary form allows for contrasting moods and key areas, creating emotional depth and variation.
• Expressive Word Setting: Every aspect of the aria, from melody to harmony, serves to amplify the theological and emotional content of the text.