Jauchzet Gott in allen Landen, BWV 51
Shout for joy to God in all the earth ( BWV 51) is a solo cantata for soprano by Johann Sebastian Bach.
Formation
Both the librettist and the exact Year of the cantata are not known. It was composed in Leipzig for the 15th Sunday after Trinity. As likely work year is assumed to 1730.
Topic
As one of the few church cantatas of Bach carries the autograph manuscript annotation " et in ogni tempo ", which does not release the text to some extent of the claim to be related to the Gospel reading of the corresponding Sundays. The work is in its introductory aria and the fourth set entirely tailored to cheers and praise of God, while the inner movements, have the recitative and aria, the second, the character of a prayer. The chorale strophe Be praise and glory with honor (from the Choral Well praise, my soul, the Lords of Johann Gramann, 1549) is a final " Alleluia " is added.
Scoring and structure
The cast includes solo soprano, trumpet in C, violin I / II, viola and basso continuo.
Special
" Shout for joy to God in all the earth " is one of the famous Bach's cantatas. The cast is unique in his spiritual work and requires both the solo part, and the trumpet very large powers with respect to pitch and virtuosity from. It may be assumed that the trumpet part of the premiere was taken over by the well-known for his brilliant game Leipzig Council musician Gottfried Reiche. The soprano voice gave Bach scholarship for a long time mystery, because at that time the one hand, in Leipzig, women were not admitted as singers in churches, on the other hand, the solo part such high demands that they would hardly have today of a boy soprano format can be executed. The explanation for this is that in Bach's time the voice break in boys usually only began with 16 or 17 years (see acceleration ). Bach could therefore use it Knabensopräne that were superior because of their physique breathing and support technique on the one hand and a longer training period due to their age on the other. A rare illustration of this fact provides the inclusion of South African boy soprano Clint van der Linde, the vocals for the cantata at the age of almost 16 years.
The first set has a pronounced concert virtuoso character, while the instruments, this time without the trumpet, have only accompanying functions for the coloratura soprano in the second and third part. The scale than Choralbearbeitung fourth movement returns again to this principle: The chorale melody is sung by the solo voice in a simple form, accompanied by two concertante violins. The chorale is in the final fifth set about in an applied as a joint finale, which now again matches the trumpet.
From the cantata also exists a version of the son Wilhelm Friedemann Bach, who added a second trumpet and timpani.