Amanda Forsythe - "Jauchzet Gott in allen Landen" BWV51 Johann Sebastian Bach

"Jauchzet Gott in allen Landen" BWV51 cantata (1730) by Johann Sebastian Bach (1685-1750). Soprano Amanda Forsythe.

1 Jauchzet Gott in allen Landen Aria
2 Wir beten zu dem Tempel an Recitative 4:12
3 Höchster, mache deine Güte Aria 6:20
4 Sei Lob und Preis mit Ehren Chorale 11:34
5 Alleluja [Finale] 15:07

Johann Sebastian Bach composed the church cantata Jauchzet Gott in allen Landen ("Exult in God in every land" or "Shout for joy to God in all lands") BWV 51, in Leipzig. The work is Bach's only church cantata scored for a solo soprano and trumpet. He composed it for general use (ogni tempo), in other words not for a particular date in the church calendar, although he used it for the 15th Sunday after Trinity: the first known performance was on 17 September 1730 in Leipzig. The work may have been composed earlier, possibly for an occasion at the court of Christian, Duke of Saxe-Weissenfels, for whom Bach had composed the Hunting Cantata and the Shepherd Cantata.

Structure and scoring
Bach structured the cantata in five movements and scored it for a soprano soloist and a Baroque instrumental ensemble of trumpets (Tr), two violins (Vl), viola (Va), and basso continuo (Bc).
The title of the autograph score reads: "Dominica 15 post Trinitatis / et / In ogni Tempo. / Jauchzet Gott in allen Landen. / à / Soprano solo / 1 Tromba* / 2 Violino / Viola / e / Continuo / di / Joh:Seb:Bach". It is the only church cantata by Bach scored for solo soprano and trumpet.

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Dürr, using the symbol for common time (4/4). The instruments are shown separately for wind instrument and strings. The continuo, playing throughout, is not shown.

Movements of Jauchzet Gott in allen Landen, BWV 51
No. Title Type Vocal Winds Strings Key Time
1 Jauchzet Gott in allen Landen Aria Soprano Tr 2Vl Va C major C
2 Wir beten zu dem Tempel an Recitative Soprano 2Vl Va A minor C
3 Höchster, mache deine Güte Aria Soprano A minor 12/8
4 Sei Lob und Preis mit Ehren Chorale Soprano 2Vl C major 3/4
5 Alleluja [Finale] Soprano Tr 2Vl Va C major 2/4

Movements
The music is concertante and virtuoso for both the trumpet and the soloist. The first aria and the concluding Alleluja are in the style of an Italian concerto. The five movements are in five different musical forms: concerto, monody, variation, chorale fantasia and fugue. The scoring is richest in the outer movements (with the trumpet), and reduced to just continuo in the central aria.

1 The first aria, "Jauchzet Gott in allen Landen" (Exult in God in every land), is in da capo form, with extended coloraturas. The theme, with a beginning in a triad fanfare, is well suited to the trumpet. It is first developed in a ritornello of the orchestra and then "constantly worked" in the soprano part.

2 The only recitative, "Wir beten zu dem Tempel an" (We pray at your temple), is first accompanied by the strings, a second part is secco but arioso. The second part develops the idea of "von seinen Wundern lallen" (chatter about His wonders) in coloraturas of rhythmical complexity.

3 The second aria, "Höchster, mache deine Güte" (Highest, renew Your goodness), is accompanied only by the continuo "quasi ostinato" which supports expressive coloraturas of the voice. The lines in the continuo, in constant movement in 12/8 time seem to constantly rise, towards the addressed "Höchster" (Highest) which appears as an octave jump down. Two extended melismas express gratefulness for being a child of God. The musicologist Julian Minchem notes that Bach is able to convey with modest means a "profound expression of commitment to God".

4 The chorale, "Sei Lob und Preis mit Ehren" (Glory, and praise with honor), is a chorale fantasia, with the soprano singing the unadorned melody to a three-part accompaniment of two violins and continuo.

5 The chorale leads without a break to a concluding fugal "Alleluja" with the trumpet, bringing the cantata to a particularly festive close. The movement begins with the soprano and the responding trumpet, before the other instruments come in to build a "fine display piece". Mincham summarizes: "The long flowing melismas leave one literally breathless with the sheer pleasure in, and energy generated through, the relationship with God."

December 13, 2018