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first stanza, Levad references humanity’s attempts to parts, excluding the second viola (soprano – violin 1,
tame forces of nature: “the fire, the flood, the mountain, alto – violin 2, tenor – viola 1, and bass – bassoon). The
and its bear.” She includes a directive to “look every- SATB choral parts are the same in both works. Geter
where” for these potential threats, emphasizing the con- also sets Franck’s text in the chamber singer parts, even
stant awareness required to navigate life’s challenges. Le- though they are derived from instrumental parts. The
vad suggests that instead of looking outward for dangers, text of the chamber singer parts corresponds to the text
people should look inward for calm and strength. Per- in the choir in any given section throughout the intro-
sistence is another central theme of her poem, and it is duction. The syllables of each word are separated with
underscored by the lines “we are born to trouble, we are a rest, which creates a feeling of breathlessness (Figure 1
built for trouble.” This suggests that although challenges on the next page).
are intrinsic to the human experience, people can over- Bach’s setting features a four-bar lamento basso pattern
come them. The theme of persistence emerges again in that appears twelve times. Geter sets the figure eleven
the lines “we seek, we seek, we seek and reach” from the times in the introduction, cadencing after the eleventh
third stanza. The repetition of the word “seek” suggests iteration. The lamento basso is featured in each of the five
the necessity of continued action to navigate difficulties. movements of the cantata, creating thematic unity, al-
In the introduction, Geter employs parody technique, though it is often transformed (transposed, inverted, in
borrowing the texture of the second movement of BWV retrograde, etc.).
12 from the beginning through m. 44. There are three The A section opens with a two-measure passage
differences between Bach’s setting and the parody. First, for solo cello, while the voices whisper “fear,” a textu-
the second viola part is omitted. Second, Bach’s contin- al addition, corresponding with the title of the move-
uo line is set for solo cello. Third, the chamber singer ment. There are a variety of textures in the A section,
parts are arrangements of Bach’s other instrumental including contrapuntally enlivened homophony, paired

Table 2. Musical overview of “Fear”

Intro A B A’ B’ Coda

Measures 1-45 46-62 63-73 74-85 86-94 95-97

Stanzas Franck text Levad 1-2, “Fear” Levad 3-4 Levad 5-6 Levad 7-8 Levad 8
(lines 1-2) (lines 3-4)

Forces SATB choir, SATB choir (divisi), cello
chamber sing-
ers, cello

Meter 3/2 2/2 2/2, 3/4 2/2, 4/4, 6/4 2/2, 4/4 4/4

Tempo Lente, H=60 Sostenuto, Q=60
Q=60,
H=60

CHORAL JOURNAL November/December 2025 Volume 66 Number 4 71