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Cantata ‘Jauchetz Gott in allen Landen’ BWV 51

Johann Sebastian Bach (b. 1685 - d. 1750)

Concerto Copenhagen (photo credit: Thomas Nielsen)

Concerto Copenhagen (photo credit: Thomas Nielsen)

Composer
Johann Sebastian Bach (b. 1685 - d. 1750)
Composition Year
1730
Artists
Maria Keohane [soprano], Sebastian Philpott [trumpet], Concerto Copenhagen (Peter Spissky, Fredrik From, Antina Hugosson [violins], Torbjörn Köhl [viola], Kate Hearne [cello], Mattias Frostenson [bass], Fredrik Bock [archlute, Guitar], Lars-Ulrik Mortensen [harpsichord, Director])

Programme Note Writer:
© Ian Fox

This Cantata for solo soprano was written for the 15th Sunday after Trinity (August 28th this year). It was probably first heard on that occasion in 1730 (17th September that year). However Bach added:  and for any occasion, indicating that he was happy for it be used outside the strict religious calendar, an indication of its popularity; given the superb quality of the composition it is a valuable Cantata for general purposes.  It is written for soprano, trumpet and strings, a unique combination for Bach but popular among Italian composers including Alessandro Scarlatti. The technical demands on soprano and trumpet suggest that professional performers were employed with the soprano’s part ranging two octaves and demanding a top C.  The text is not directly related to the readings allocated to that date in the religious calendar and it is not known who wrote it.  It involves lines from two Psalms and from the Book of Lamentations and the chorale is a setting of a verse from a hymn by Johann Gramm, a stanza Bach also used in the Cantata ‘Wir danken dir Gott’ BWV 29.

Bach modelled this unique composition on the Italian motet style, comprising an opening aria, a recitative, a second aria, a chorale and a final solo coloratura Alleluja display. A sprightly trumpet tune launches the Cantata, soon followed by the soprano with trumpet obbligato in a flamboyant setting Praise God in all lands.  This is a da capo aria, beginning with a lively and elaborate coloratura setting of Jauchetz Gott in allen Landen. This is followed by a slower middle section Was der Himmel, then the opening verse is repeated from the top.  A recitative is placed second:  We pray at the temple where God’s glory lives…. Then comes a slow-paced da capo aria Highest one, replenish thy goodness every day…. The Gloria chorale leads into the famous Alleluja, providing brilliantly-embellished vocal fireworks on just the one word for the soprano, supported by fiery trumpet decorations. 

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Cantata ‘Jauchetz Gott in allen Landen’ BWV 51

Composer: Johann Sebastian Bach (b. 1685 - d. 1750)
Performance date: Saturday 5th July 2014
Venue: St. Brendan's Church, Bantry, Co Cork, Ireland

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Composer Johann Sebastian Bach (b. 1685 - d. 1750)
Work Title Cantata ‘Jauchetz Gott in allen Landen’ BWV 51
Composition Year 1730
Artist(s) Maria Keohane [soprano], Sebastian Philpott [trumpet], Concerto Copenhagen (Peter Spissky, Fredrik From, Antina Hugosson [violins], Torbjörn Köhl [viola], Kate Hearne [cello], Mattias Frostenson [bass], Fredrik Bock [archlute, Guitar], Lars-Ulrik Mortensen [harpsichord, Director])
Performance Date Saturday 5th July 2014
Performance Venue St. Brendan's Church, Bantry, Co Cork, Ireland
Event Coffee Concert
Duration 00:16:32
Recording Engineer Damian Chennells, RTÉ lyric fm
Instrumentation Category Small Mixed Ensemble
Instrumentation S-solo, tpt, hpd, str
Programme Note Writer © Ian Fox

This Cantata for solo soprano was written for the 15th Sunday after Trinity (August 28th this year). It was probably first heard on that occasion in 1730 (17th September that year). However Bach added:  and for any occasion, indicating that he was happy for it be used outside the strict religious calendar, an indication of its popularity; given the superb quality of the composition it is a valuable Cantata for general purposes.  It is written for soprano, trumpet and strings, a unique combination for Bach but popular among Italian composers including Alessandro Scarlatti. The technical demands on soprano and trumpet suggest that professional performers were employed with the soprano’s part ranging two octaves and demanding a top C.  The text is not directly related to the readings allocated to that date in the religious calendar and it is not known who wrote it.  It involves lines from two Psalms and from the Book of Lamentations and the chorale is a setting of a verse from a hymn by Johann Gramm, a stanza Bach also used in the Cantata ‘Wir danken dir Gott’ BWV 29.

Bach modelled this unique composition on the Italian motet style, comprising an opening aria, a recitative, a second aria, a chorale and a final solo coloratura Alleluja display. A sprightly trumpet tune launches the Cantata, soon followed by the soprano with trumpet obbligato in a flamboyant setting Praise God in all lands.  This is a da capo aria, beginning with a lively and elaborate coloratura setting of Jauchetz Gott in allen Landen. This is followed by a slower middle section Was der Himmel, then the opening verse is repeated from the top.  A recitative is placed second:  We pray at the temple where God’s glory lives…. Then comes a slow-paced da capo aria Highest one, replenish thy goodness every day…. The Gloria chorale leads into the famous Alleluja, providing brilliantly-embellished vocal fireworks on just the one word for the soprano, supported by fiery trumpet decorations.