Chorus in late Baroque style

I've attached below the opening 32 bars of a movement for strings, chorus, and continuo in the late Baroque style. The text is taken from Goethe's Einsamkeit; the full text and a sample translation can be found at the end.

The form of the chorus will probably end up being rondo-like: A B A' C A. Section A here refers to the opening 32 bars, and A' is A in the dominant key. Section B will deal with the next two lines of text, and likewise with C. I'm interested in how you might proceed with B & C. What kind of textures? What material from A do you want to use? How would B and C relate to each other?

Einsamkeit

Die ihr Felsen und Bäume bewohnt, o heilsame Nymphen,
Gebet Jeglichem gern, was er im stillen begehrt!
Schaffet dem Traurigen Trost, dem Zweifelhaften Belehrung,
Und dem Liebenden gönnt, daß ihm begegne sein Glück.
Denn euch gaben die Götter, was sie den Menschen versagten,
Jeglichem, der euch vertraut, hilfreich und tröstlich zu sein.

You who dwell in rocks and trees, o salutary nymphs,
grant gladly to each what he silently desires!
Create solace for the grieving, give instruction to the uncertain,
and to the lover grant that he might meet happiness.
For the gods gave you what they denied to men:
to be a comfort and an aid to all who trust you.

Hello @muchen_,

usually I try to point out first the positive things before giving slightly critical remarks. But the first impression of your chorus was „there is something wrong with it“. But now, after thinking a while about it, I hope my comment will be positive, too – while surely a bit silly.

The first impression of the recording was: „much too fast!“ (what doesn’t matter as long as it’s a sketch only).

On the other hand, I see your well done counterpuntual approach – even with figured bass.

But reading the more „romantic“ lyrics from Goethe, I have the next mismatch in my imagination. With the lyrics I’m reminded on the famous painting „Goethe in the Roman Campagna“ which expresses the connection with nature (and perhaps with nymphs …).

While thinking on baroque, I see men and women wearing wigs. And that either in the context of religious seriosity (Bach) or being part of a somewhat decadent party (sometimes Handel) 😃

What can we now do with the piece? As you intend to create a piece in rondo-form, I could imagine that you could express those „clashes“ I described above in an intentional manner, achieving a piece which does not take itself too seriously, but should be well crafted: So you could, for example

    • not only „transpose“ or develop the A’ section in the dominant key, but introduce more far scales, such as lydian (augmented) and (Spanish) phrygian, creating an interesting and more contemporary harmony. There are just famous examples here in the forum, such as from @PeterthePapercomPoser’s Persichetti exercises.
    • refrain from the counterpuntual approach in the B and C sections to make them it really „romantic“ (or even „jazzy“???)

I don’t know if anything from that what I wrote today was helpful, but hope that you’ll enjoy working on you chorus further.