Fantasia super Aus tiefer Not

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Fantasia super Aus tiefer Not (2024)
Dedicated to Dorothea Winter
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Aus tiefer Not
The chorale Aus tiefer Not was composed by Martin Luther in 1524. It is based on Psalm 130. The version of the chorale I used can be found in the opening chorus of BWV 38.
Fantasia super Aus tiefer Not
Defining the fantasia genre is difficult, because there are so many different compositions bearing this name. In the case of Telemann’s Flute Fantasias, I believe the reason for calling them fantasias is the combination of movements that otherwise would not have been found together in any typical, contemporary form such as the sonata, concerto or suite.
In this case a chorale prelude, an andante from a sonata and a gigue from a dance suite are combined. On top of this each movement is based on the chorale melody, which is also rare for sonata and dance suite movements. As a chorale fantasia is a specific genre, I opted for the more antiquated (but in my opinion more open) name Fantasia super Aus tiefer Not.
Adagio ma non troppo (chorale prelude)
The first movement is a chorale prelude based strongly on Telemann’s Jesu, Meine Freude from his Fugierende und verändernde Choräle (no. 36, 1735). I have taken over Telemann’s figuration literally, as it resembles the beautiful opening intervals of the Aus tiefer Not chorale melody. Each strain of the chorale is preceded and connected by a free section based on the two starting motifs. The chorale melody itself is accompanied by the same two motifs and a two-part contrapuntal setting is suggested by dividing the two voices with big leaps. Sometimes the chorale melody is in the ‘lower voice’ as well, to try to emulate a setting of two equal voices.
Andante Cantabile
The second movement is typical in form for a Telemann flute fantasia or a baroque sonata. The opening motif (without the upbeat) is based on the opening of the chorale melody, but set in the relative major. The motif comes back in different keys, connected by varied motivic material. I believe every piece of music should have some freedom in time and rhythmical note inequality. This is especially the case in this andante cantabile.
Gigue
In Der vollkommene Capellmeister (p. 161 §5) Mattheson shares an experiment in which any chorale melody can be used to make a dance suite movement, simply by ornamenting the plain notes of the original melody with typical dance rhythms. This is exactly what I did to compose this gigue, it is literally the ornamented chorale melody from start to finish.