Cantata movement in baroque style

Hi, here a Cantata movement I wrote in the last few days. I try to create some contrast within the movement with some parts just instrumental without voice and basse.

The structure is a ABA form, being B some of the main motives transform minor keys in some modulating sequences. 

All through the eightnotes momentum never stops, first played be the basses with the main motive and then by the violin I with the second motive.

The movement ends with a fugato with before the final cadence. 

1st motive (is repeated after modulating to the dominant D)

Bass in 1st motive

2nd motive

2nd motive (Exemple of combination second and third species counterpoint).

3rd motive (exemple of more free counterpoint style in fifth species and contrast with 1, 2 and 3 voice texture)

Final Fugato Motive (Repeated by Violin II, Viola 1 oct. below and Basses 2 oct. below)

Fugato broken cadence (exemple of third species counterpoint).

I could extend more in some technical details, but better hear and feel...

Let me know your opinion.

Great job!  I like how you visit many minor keys in the development section.  I think what you have at the end of the piece is not a fugato but a short canon at the unison or octave.  I wish you had extended or developed that further - it seems like it should be a more profound and substantial part of the whole.  Also - do you have any specific words in mind for the choir?  Thanks for sharing!

Thank you for posting. You must have put a lot of effort into it. It has some real Baroque beauty.
I have one remark: the substantive part seems to be the strings, the music seems to happen there. The choir seems to have not much life on its own. I think your piece could grow if the choir got more musical impact through having a more independent function. Also: why don't let the choir sing for a longer period of time? Now they have only short phrases. It would be good to balance things out and give more variety.

On 1/9/2022 at 12:46 AM, PeterthePapercomPoser said:

Great job!  I like how you visit many minor keys in the development section.  I think what you have at the end of the piece is not a fugato but a short canon at the unison or octave.  I wish you had extended or developed that further - it seems like it should be a more profound and substantial part of the whole.  Also - do you have any specific words in mind for the choir?  Thanks for sharing!

 

Thanks for your comments. You are right the final part is indeed a canon. I don't have a specific words for that, but I think some text from the Bible could fit there pretty well. I just have to find an appropiete one that fits there. 

On 1/15/2022 at 10:12 PM, Jan-Peter said:

Thank you for posting. You must have put a lot of effort into it. It has some real Baroque beauty.
I have one remark: the substantive part seems to be the strings, the music seems to happen there. The choir seems to have not much life on its own. I think your piece could grow if the choir got more musical impact through having a more independent function. Also: why don't let the choir sing for a longer period of time? Now they have only short phrases. It would be good to balance things out and give more variety.

 

That's true the choir is basically limited to the main Theme, but I like the contrast of parts being just instrumental. 

15 hours ago, Guillem82 said:

That's true the choir is basically limited to the main Theme, but I like the contrast of parts being just instrumental. 

 

Couldn't this contrast be even greater if the choir didn't sing the same lines as the strings but rather something different? It could make your piece have more impact, I think.

Consider this: imagine it is performed for real. The choir consists of 30 people. 30 people start to realize during the rehearsal they 'just' sing along with the strings. They come to you and say: 'You wrote beautiful music but we just sing along with the strings.' How would you explain the neccesity of the choir? 

Hello Guillem,

This is a very good piece of music. I love your musical ideas. For me the style is a mix mid italian, late german and some rokokko/classical twists. Very interesting. 

You have a strong themes. I really love bar 41 - 45. The choir entry 44 is very german. 

My only critic is the following:

- The modulation to man theme in minor could be smoother

- You could have used more counterpoint and imitation with your themes.

- Where is the text? 🙂

As i said, i really liked your theme. Very majestic. I think it fits "Cum Sanctu Spiritu". I could not help myself so I made a little tune of your theme, with text, and a bit more counterpoint and imitation! 🙂