rssBWV 114.7 analyzed again
A revision of the analysis of the cross relation of May 26, 2008
Here is the original post with sound files of the parts, April 22, 2008.
Here is a revision and correction, posted May 26, 2008, of the original analysis.
Today, after a letter from Taylor Morgeson, here is another solution with chord changes only on the beat, so that the harmonic rhythm is consistent:
The cross relation results from the unaccented appoggiatura in the second half of the first beat and the E natural in the bass on the second beat. The E flat in the tenor is in the descending harmonic minor scale (F sharp-E flat-D-C-B flat) playing against the ascending melodic minor in the bass (D-E natural-F sharp-G).
In the same measure there is also a voice crossing between the alto and the soprano resulting from the leap of a seventh by the alto; so this is a very active couple of measures.
Glenn Gould remarks about BWV 54 that suspensions and cross relations were reserved by Bach for "those subjects for which he felt most keenly, most deeply". Only Glenn Gould, with a direct line to Bach's spirit, would know what Bach was feeling. I don't think anyone else would quite dare to make such a statement. The words sung in these measures are:
So sind wir doch des Herren
Der kann dem Satan wehren
Yet we are the Lord's
He can guard against Satan
Perhaps the very active harmonization of these measures was meant to call attention to these sentiments.
Here is Taylor's corrected version of the measures.
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