Crucifixus Text (None) Passacaglia bass: Do Ti Te La Le Sol Notes: BWV 12.2 does not include an instrumental introduction.
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1 An Analytical Comparison of the second movement ( Weinen, Klagen, Sorgen, Zagen ) of Cantata #12, BWV12 (from 1714) and the "Crucifixus" from Bach's Mass in B minor, BWV232 (assembled late 1740s) Luke Dahn ( A comparison score in which the two movements are placed side by side and put in the same key (e minor) can be found at the following link: The below tables correspond to the 13 rotations of the passacaglia bass line of this piece. While the home key of.2 is F minor, the commentary below refers to pitches in E minor (i.e. the pitches in the comparison score linked above) for convenience sake. Harmonies that make use of chromaticism (not including inflections of scale degrees 6 and 7) are highlighted in red, showing that Bach increased the chromatic saturation when reworking the Crucifixus years later. Dissonance is occasionally further intensified through the use of figuration. INTRODUCTORY ROTATION (Crucifixus only) Measure X/1 X/2 X/3 X/4 Beat Text Crucifixus e: i VI6 viio7 v6 #viø7 iv6 cadential V V7 Crucifixus Text (None) Notes:.2 does not include an instrumental introduction. ROTATION #1 Measure 1/5 2/6 3/7 4/8 Beat f: i VI6 viio7 v6 #vio iv6 V Crucifixus e: i VI6 viio7 viio43/iv (#VI7??) iv6 iiø43 V Crucifixus Text Crucifixus Notes: A noteworthy change occurs in the Crucifixus in measure 2/6 where the altos enter on an F-natural rather than an F# (as they do in.2 on the word Klagen ). The effect is striking: The chromatic adjustment alters the original whole-step sigh to a half-step, more accurately mimicking the sopranos in the previous measure. The F-natural also creates a biting harmonic tritone with the sopranos B-natural above. Lastly, the harmony is altered from a v6 to a more poignant viio43/iv.
2 ROTATION #2 Measure 5/9 6/10 7/11 8/12 Beat f: i VI6 viio7 v6 #vio iv6 V Crucifixus e: i VI6 viio7 viio43/iv IV6 iv6 iiø43 V Crucifixus Text Crucifixus Notes: The same chromatic alteration featured in Rotation #1 also occurs here. In measure 6/10, the sopranos are given an F-natural creating a harmonic tritone once again with the tenors B-natural below. ROTATION #3 Measure 9/13 10/14 11/15 12/16 Beat f: i iiø42 V6 v6 V42/iv IV6 iv6 iiø43 cadential V Crucifixus e: i viio43/v V6 iv7/iv viio43/iv IV6 iv6 Fr+6 cadential V V7 Crucifixus Text crucifixus crucifixus etiam pro nobis, Note: Bach makes another striking alteration in Rotation #3. In measure 9/13, the sopranos G A entry is altered to G A#, creating a melodic augmented second. The vivid word-painting of the twisted melody portrays the twisted and deformed body of Christ. The same augmented second melodic deformation occurs in the following measure where F# G# is altered by change the first note rather than the second: F-natural G#. In measure 11/15, Bach alters the altos A to an A-sharp, thereby creating a more chromatically charged French augmented sixth chord. ROTATION #4 Measure 13/17 14/18 15/19 16/20 Text Weinen, Klagen, Sorgen, Zagen f: i VI6 viio7 (III64) v6 #viø7 iiø43 iv6 V (iadd6 or VI65?) Crucifixus e: V/iv (Vadd6/iv?) iv64 iv43 viio7 (III64) v6 #viø7 iv6 V Crucifixus Text crucifixus etiam pro nobis,
3 ROTATION #5 17/21 18/22 19/23 20/24 f: i VI6 viio7 viio43/iv IV6 VI7 iv6 cadential V7 v7 (ii7/iv?) Crucifixus e: i VI6 viio7 viio43/iv IV6 VI7 iv6 V V7 v7 (ii7/iv?) Crucifixus Text crucifixus etiam pro nobis, sub Pontio Pilato ROTATION #6 21/25 22/26 23/27 24/28 f: V7/iv IV64 III6 viio7 viio43/v IV6 VI iiø43 cadential V7 Crucifixus e: V7/iv IV64 III6 viio7 viio43/v IV6 VI iiø43 cadential V7 Crucifixus Text: sub Pontio Pilato passus ROTATION #7 25/29 26/30 27/31 28/32 Text Angst und Not f: i V42/V V6 V42/iv IV6 (V42/III?) iiø43 V7 Crucifixus e: i V42/V V6 V42/iv IV6 (V42/III?) iiø43 V7 Crucifixus Text: passus et sepultus
4 ROTATION #8 29/33 30/34 31/35 32/36 Text sind der Christen Tränenbrot, f: i viio7 III6 viio7 i42 #viø7 iv6 V (I pedal) (I pedal) (I pedal) Crucifixus e: i (I pedal) viio7 (i pedal) III6 (i pedal) viio7 i42 #viø7 iv6 V Crucifixus Text: passus et sepultus est. ROTATION #9 Return to opening 33/37 34/38 35/39 36/40 Text Angst und Not f: i VI6 viio7??? viio42? iv6 iiø7/iv (N6/iv??) (cto7?) Crucifixus e: i VI6 iiø42 viio7? (N6/iv??)?? viio42? (cto7?) iv6 iiø7/iv Crucifixus Text: Crucifixus etiam pro nobis Notes: This return to the opening is the most twisted and harmonically convoluted rotation of all. The passage is contrapuntally driven, making harmonic analysis difficult and even pointless. The staggered entries beginning in measure 33/37 open with two melodic diminished thirds (C A# in the soprano; F- natural D# in the alto) while a conspicuous spelling of the B-A-C-H monogram (A# B G# A) appears in the soprano (which in the F minor home key of.2 are the actual BACH pitches rather than a transposition: B-C-A-Bb). ROTATION #10 37/41 38/42 39/43 40/ Text Angst und Not f: V9/iv V7/iv viio7 v6 #viø7 iiø43 iv6 v Crucifixus e: V9/iv V7/iv viio7 v6 #viø7 iiø43 iv6 v Crucifixus Text: crucifixus etiam pro nobis sub Pontio Pilato
5 ROTATION #11 41/45 42/46 43/37 44/48 Text sind der Christen Tränenbrot. f: VI6 viio7 III64 viio43/iv IV6 iiø43 viio42 cadential V7 Crucifixus e: VI6 viio7 III64 viio43/iv (IV6) iiø43 viio42 cadential iiø7 V7 Crucifixus Text: passus et sepultus est. Fa Sol Notes: In measure 43/47, Bach delays the resolution of the previous viio43/iv chord in the Crucifixus by inserting a 7-6 suspension in the soprano and a retardation in the tenor. The result is an apparent #vi7 chord. The structural harmony here is still a IV6, even though it is never actually realized as it was on the downbeat in.2. ROTATION #12 45/49 46/50 47/51 48/52 49/52 1 Text (None) f: i VI6 vio7 v6 #viø7 iv6 cadential V7 i Crucifixus e: i VI6 viio7 v6 viio43/iv (IV6) iv6 (G:) (G:) (G:) G: ii6 Ger o3 cadential I64 V7 I Text: passus et sepultus est. Do Ti Te La Le Sol Do Passacaglia: Crucifixus Do Ti Te La Le Passacaglia: G: Fa G: Fi G: Sol G: Do Note: The most obvious change between the Crucifixus and.2 occurs at the movement s end where Bach reworks the passacaglia bass line effecting a modulation to G major which sets up the ensuing D major Et resurrexit. A German augmented sixth chord (in the unusual o3 inverted bass position) is inserted in m.51 of the Crucifixus.
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