PART 4: GLORIA 2

A reminder that the numbers before each movement is the time mark time where the movement begins on the video.

 To get the most out of the next several weeks, I suggest you read the commentary of the movement first then listen and watch the movement from the YouTube video. 

Gloria video part: https://youtu.be/Zkx1vgl7RbU
 Read and listening time:  20-30 minutes.

 33:19 Domine Deus (Soprano & Tenor Duetto Aria) TEXT:  “Domine Deus, Rex caelestis, Deus Pater Omnipotens. Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris.”  (Lord God, heavenly King, O God, almighty Father.   Lord Jesus Christ, Only Begotten Son,)  This aria-Duetto is in the key of G Major, in 4/4 time and scored for flute, strings, continuo, solo soprano, and solo tenor.  This also appears in Cantata  191 as a duet “Gloria Patri et Filio”  here at the 6:17 mark: https://www.youtube.com/watch?v=Zkx1vgl7RbU&list=RDZkx1vgl7RbU&start_radio=1 

A few things to note:

1)      This is the only duet in the “Gloria.”

2)       While this is scored for a single flute to play the obligato part, Veldhoven uses 2 flutes.  The reason for this is that if modern instruments were used, 1 flute would suffice.  However, since “period flutes” (made from wood) are being used, and they are not as bright as modern metal flutes, 2 flutes were needed to project the sound properly.  None-the-less, these two flutes play beaurifully as one. 

3)      The violins and violas are “con sordino.”  What does that mean?  Why, I’m glad you asked:  “Con (with) Sordino (mute)” means “with mute.”  Yes, strings can be muted (just like brass instruments) and you will see their little mutes on the bridge of their instruments which quiets the instruments down and gives it a more calming sound. 

4)      The continuo (cello and string bass) are “Pizzicato” which means instead of using their bows on the string, they are plucking the strings with their fingers. 

38:39 Qui tollis (Chorus)  TEXT:  “qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram.” (Lord God, Lamb of God, Son of the Father, you take away the sins of the world, have mercy on us; you take away the sins of the world, receive our prayer)”  This movement is back in the key of B minor, 3/4 time, and scored for 2 flutes, strings, continuo, and SATB chorus.   This movement is another rework from a piece Bach wrote in both 1723 (Cantata 46  https://www.youtube.com/watch?v=2TUyRnLSYjk )   and 1733  The flutes add 2 beautiful obligato lines while there is a lot of imitation in the between soloists.  While this movement was written for chorus, Veldhoven uses just the 4 soloists for this movement. 

41:39 Qui sedes (Alto Aria) TEXT: “Qui sedes ad dexteram Patris, Miserere nobis.” (you are seated at the right hand of the Father, have mercy on us.).  We remain in the key of B minor in 6/8 time and scored for Oboe, strings, continuo, and alto soloist (the male alto). 

         The oboe has a beautiful obligato line against the alto soloist.  You will hear some “echoing” back and forth between the soloist and the oboe.  Towards the end there is a long melsmatic line sung by the alto with the oboe imitating that line one bar later. 

45:50 Quoniam tu solus sanctus (Bass Aria) TEXT:  “Quoniam tu solus Sanctus,  Tu solus Dominus, Tu solus Altissimus, Jesu Christe,”  (For you alone are the Holy One, you alone are the Lord, you alone are the Most High,  Jesus Christ,).  Back in the bright key of D Major in 3/4 time and scored for “Corno da caccia” (French Horn), 2 bassoons, continuo, and bass soloist (unusual scoring to say the least, but it sounds great).  Bach may have had in mind one or more of the excellent five bassoonists in Dresden as well as horn soloists Johann Adam Schindler when he wrote this movement. 

         A few interesting notes:

1)       This is the ONLY movement where Bach uses the French Horn.  This poor horn player has to sit through 45 minutes of doing nothing and trying to keep his chops warmed up.

2)      The horn player uses the same type horn that Bach would have used, therefore, it is valve-less, just like the trumpets are.  He changes pitch by using his lips and the different ways he cups his hand in the bell of the instrument. 

3)      The horn player has played this so often that he plays it in this performance from memory.

4)      This movement goes non-stop directly into the next movement (“Cum Sancto Spiritu’).

50:33 Cum Sancto Spiritu (Chorus) TEXT:  “Cum Sancto Spiritu: In Gloria Dei Patris.  Amen” (with the Holy Spirit, in the glory of God the Father. Amen.).  Bach stays in D Major and stays in 3/4 time, however, the tempo making is “Vivace” (quick and lively-which accurately depicts this movement).  Bach scores this final movement of the “Gloria” for 3 trumpets, 2 flutes, 2 oboes, bassoon, strings, timpani, continuo, and SSATB chorus, and it contains not one, but TWO fugues!   All of these ascending notes in the orchestra and chorus are ascending to heaven.  This is a modified version of the closing chorus in his Cantata 191 heard here at mark 10:18 mark

https://www.youtube.com/watch?v=Zkx1vgl7RbU&list=RDZkx1vgl7RbU&start_radio=1 

As soon as we hit this absolutely GLORIOUS movement, we are off and running.  After we hear a 36 bar beginning section (and they aren’t getting any help from the orchestra this time because the orchestra is not doubling any of their parts – what the orchestra is playing has nothing to do with what the choir is singing except to add more sixteenth note runs and harmonic support) the soloists (normally sung by the choir) then begins yet another 5 voice fugue with just continuo accompaniment.  You will hear the sopranos and altos singing a 3 bar melisma on the word “GLO-ria” and 7 bars later the sopranos sing it again for 4 bars.  What a workout! !  The actual fugue begins after this with the tenors introducing the fugue melody followed by the alto, then Soprano I, Soprano II and finally the bass.  Bach uses several bars of sixteenth note melismas again on the word “Amen” in each of the voices during their presentation of the melody.  After each voice has the melody, then the woodwinds come in followed, a few bars later, by the trumpets.  This movement couldn’t end in a more glorious way to honor the Holy Spirit and God the Father. 

Next week we will start part one of the “CREDO.”